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The 1980s are often remembered for spectacular movies like Raiders of the Lost Ark, Platoon, and The Empire Strikes Back. But beyond the usual suspects, the ’80s also produced films that have matured beautifully over time. Like a well-cellared Bordeaux, some of the decade’s movies get even better years after it was produced. The entries on this list may have been misunderstood or overshadowed, but now time has revealed richer notes and complexity.

These are a collection of films that have aged so well since their release, becoming a reflection of the world today, even when they did not initially intend to. These movies need to be watched and experienced like you’re drinking the finest vintage wine on the menu, appreciating more as the years go by and your cinematic taste matures.

‘Near Dark’ (1987)

Image via De Laurentiis Entertainment Group

A blend of vampire mythology and classic road movie, Near Dark sees small-town teenager Caleb (Adrian Pasdar) being bitten by drifter Mae (Jenny Wright). He’s then pulled into a nomadic clan of violent vampires led by Jesse (Lance Henriksen), who roam highways and small towns. With a psychotic member, Severen (Bill Paxton), actively trying to kill him, Caleb tries to reconcile his new reality that sees his humanity withering away as he accepts his new, brutal family.

Near Dark was one of the many vampire movies released in the 1980s. While it flew under the radar because of the popularity of the other movies like The Lost Boys and Fright Night, it has really aged well thanks to Kathryn Bigelow‘s confident direction in her solo film debut. The performances are fantastic, especially from Lance Henriksen, who’s always charismatic, and Bill Paxton, whose manic work made this film unforgettable. Near Dark is filled with stunning visuals and a great genre blending of Western, horror and romance. It deserves to be included among the best vampire movies in cinema.

‘How to Get Ahead in Advertising’ (1989)

Image via Virgin Vision

How to Get Ahead in Advertising follows Denis Dimbleby Bagley (Richard E. Grant), a high-powered advertising executive who suddenly finds himself unable to write a campaign because of a moral crisis about his job’s manipulative nature. As Denis becomes increasingly paranoid, a boil with a face appears on his shoulder and starts to talk about his capitalist instincts, mocking his conscience and pushing him deeper into his thoughts.

The film has aged remarkably well because of its central theme about advertising that manipulates desire and distorts truth. It is even more relevant in today’s hyper-commercial, algorithm-driven world, where every content company is inundated with ads. Richard E. Grant, in one of his early leading roles, delivers a fearless performance, changing between a smug corporate man and a hysteric paranoid. The body horror aspect exaggerates the consumer culture to deliver a biting satire. It may be over-the-top when it was released, but this hyperbole is needed for today’s world.

‘My Neighbor Totoro’ (1988)

My Neighbor Totoro follows sisters Satsuki and Mei as they move to the countryside with their father while their mother recovers from a long-term illness. As they explore their new home, they encounter gentle woodland spirits, including the enormous, kind Totoro, and they ride on a magical Catbus, watching seeds sprout into trees together. Satsuki and Mei’s adventures with Totoro provide them with comfort during a difficult time for them.

The classic Ghibli film was already a favorite upon its release. With emotional purity at its core, Hayao Miyazaki treats childhood with respect rather than sentimentality. There’s no traditional villain or high-stakes conflict; instead, the emotional tension centers on childhood anxiety and sibling bonds. The animation remains lush and expressive, making it a cozy experience anytime you decide to watch it. Totoro itself has become an international cultural icon, not to mention Ghibli’s official mascot.

‘Thief’ (1981)

Image via United Artists

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Thief follows Frank (James Caan), a strict and professional safecracker who hopes to complete one last score before living a legitimate life. When he’s drawn into a partnership with a powerful crime boss who promises financial backing, Frank is trapped in a job that doesn’t respect his independence, and his dream of a normal life begins to crumble.

Michael Mann is known today for crafting stylish, incredibly cool crime films like Heat and Miami Vice. However, he has already managed to do that in his film debut, one of cinema’s best heist thrillers. Mann’s neon-lit Chicago, paired with Tangerine Dream’s pulsing synth score, feels strikingly modern, making it a visual and sonic blueprint for decades of crime cinema. James Caan delivers an intense and vulnerable performance as Frank. Beyond the crime genre thrills, Thief also explores capitalism and the illusion of the American Dream with surprising depth, elements that are still incredibly relevant today.

‘The King of Comedy’ (1982)

Image via 20th Century Studios

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In The King of Comedy, Rupert Pupkin (Robert De Niro) is an aspiring stand-up comedian who believes he’s destined for stardom, despite having no real career or platform. Obsessed with late-night talk show host Jerry Langford (Jerry Lewis), Rupert fantasizes about being his friend. When he’s repeatedly brushed aside, he escalates to kidnapping Langford to get a shot at national television exposure.

This Martin Scorsese movie has aged spectacularly because it predicted our culture’s obsession with visibility and validation, especially with social media today. Pupkin feels like a prototype for influencer-era celebrity hunger who craves fame solely for recognition. Robert De Niro gives a committed performance, portraying Rupert not as a villain, but as a socially inept dreamer incapable of self-awareness. The film gained a second life in the 2010s after Joker practically ripped off this film’s storyline, which, in a way, also mirrored how Pupkin kidnapped Langford for fame. Alas, The King of Comedy is way superior to the DC villain origin story.

‘Paris, Texas’ (1984)

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Paris, Texas begins with Travis Henderson (Harry Dean Stanton) emerging silently from the desert, disoriented after disappearing for four years. Slowly, he reconnects with his brother and young son, Hunter (Hunter Carson), attempting to rebuild a relationship that time and abandonment nearly erased. Travis and Hunter then travel together in search of Hunter’s estranged mother, Jane (Nastassja Kinski).

Revisited today, Paris, Texas never feels outdated, and its emotional aspects are earned through the characters’ journeys and the deliberate pacing. Wim Wenders clearly trusted the audience to be in Travis’ headspace and join his story. With beautiful visuals, a great guitar score, and iconic performances from Stanton and Kinski, the film has become a foundational American classic. The film has inspired numerous actors and filmmakers, with Michael Bay even including a reference to the film in one of the Transformers movies.

‘Mishima: A Life in Four Chapters’ (1985)

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Mishima: A Life in Four Chapters reconstructs the final day of Japanese author Yukio Mishima (Ken Ogata). It also included stylized adaptations of three of his novels and flashbacks to his formative years. The film moves between black-and-white sequences, rich color sequences representing his fiction, and glimpses of his childhood and artistic evolution.

Paul Schrader considers it to be one of his best works alongside Taxi Driver, and it is with good reason. The film is an ambitious take on a controversial figure, but rather than flattening its subject into hero or villain, it embraces his contradictions as an artist and an ultranationalist. Its structure is unlike any other film that came before, and it has not been replicated since. Mishima is further elevated by Philip Glass‘ thunderous score and striking production design by Eiko Ishioka. Due to its controversial nature, the film was not screened in Japan until 2025.

‘The Thing’ (1982)

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Set in a remote Antarctic research station, The Thing follows a group of American scientists who encounter a shape-shifting alien capable of perfectly imitating any living organism. After a Norwegian outpost is found destroyed, the team realizes the organism can replicate and replace them from within. As they don’t know who to trust, the men begin turning on one another, unsure who is still human.

Surprisingly, The Thing was not a critical favorite when it was released. Over time, the John Carpenter film reveals itself to be a towering work. Today, it stands as one of the best horror thrillers ever made. The creature design is grotesque and is scarier than any CGI creation, and the performances, led by Kurt Russell, are strong across the board. Carpenter is an expert at maintaining tone, and here it shows as the movie is constantly covered in bleakness and paranoia. The ambiguous ending is the cherry on top of why the film endures.

‘Videodrome’ (1983)

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Videodrome follows Max Renn (James Woods), the sleazy president of a small cable TV station, constantly searching for edgier, more provocative content to boost ratings. When he discovers a mysterious broadcast signal featuring extreme torture and violence, he becomes obsessed with tracking its origin. As Max investigates, the signal begins to distort his perception of reality, and he loses sight of what is real and media.

Videodrome was actively disliked by audiences when it was released, as evidenced by the D+ CinemaScore, although many critics agreed that the film was ahead of its time. Its once-bizarre premise about media addiction and desensitization now feels eerily prophetic. The depiction of Renn merging with television is extreme, showing how humans are now inseparable from technology in the digital age. The practical effects are excellent and add to the realism that makes it even scarier. Videodrome is now widely regarded as one of David Cronenberg‘s best films and a sharp cultural commentary on today’s world.

‘Blow Out’ (1981)

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Blow Out follows Jack Terry (John Travolta), a sound technician for low-budget horror films who accidentally records what may be evidence of a political assassination. While gathering ambient audio one night, he captures the sound of a car tire blowout just before a fatal crash involving a presidential candidate. As Jack syncs his audio with a photographer’s images, he uncovers a conspiracy far bigger than he anticipated.

Blow Out aged like fine wine because of how disturbingly modern it feels. Its obsession with truth versus perception and political cover-ups resonates even more today, when misinformation runs wild. John Travolta delivers one of his most layered performances as an idealistic and obsessive man pulled into a conspiracy. Brian De Palma’s direction, with his iconic split diopter shots and elaborate set pieces, puts the spotlight on the main character, making it an intense experience. It’s both a thriller and a tragic commentary on how truth can be drowned out by power, making it even sharper today than it was in 1981.

In one week, Scream 7 will slash into cinemas, unveiling the latest installment to hail from the 30-year-old franchise. With the story set around Neve Campbell’s Sidney Prescott, the project marks a return to the original film series after having gone off in a different direction in 2022’s Scream and 2023’s Scream VI. So far, the marketing team has made it abundantly clear that the masked killer known as Ghostface will have a new target in his sights — Sidney’s teenage daughter Tatum (Isabel May). Helmed by Kevin Williamson, who created the slasher universe and served as the scribe on the first, second, and fourth films, the new movie promises to delight fans of the original while also throwing in a group of new characters into the middle of the massacre.

Speaking of those newcomers, the ensemble list backing Campbell in Scream 7 includes Asa Germann (Gen V), Anna Camp (Pitch Perfect), Joel McHale (Community), Mark Consuelos (Riverdale), Sam Rechner (The Fabelmans), Celeste O’Connor (Madame Web), Ethan Embry (Empire Records), Michelle Randolph (Landman) and Mckenna Grace (Five Nights at Freddy’s 2). But they won’t be the only faces in Ghostface’s deadly path, as a multitude of characters from the previous films will also be making their return, with Matthew Lillard, Courteney Cox, Scott Foley, David Arquette, Mason Gooding, and Jasmin Savoy Brown confirmed to be in the mix.

Where To Stream All Six ‘Scream’ Movies for Free

With so many characters and stories weaving in and out of the plot of Scream 7, it might be a little bit hard to keep it all straight. Luckily, audiences can now head over to Pluto TV to stream all six of the Scream movies completely free of charge. As if its impressive docket of content wasn’t enough, the streamer is offering fans the opportunity to go on a trip down memory lane and have a six-film movie night that will jog your memory of the entire franchise. While we might not yet fully understand exactly how Williamson and his team will be bringing the deceased characters played by Arquette, Lillard, and Foley back, a nice refresher is just what the Scream-obsessed fan in your life ordered.

Will Scream 7 round out the franchise and mark the end of the film series? While it doesn’t seem overly likely, there’s always a chance that this could be the last one. Regardless, get a jump on the story by heading over to Pluto TV and streaming all six Scream films for free.

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Release Date

December 20, 1996

Runtime

112 minutes

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Writers

Kevin Williamson

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Producers

Bob Weinstein, Cary Woods, Cathy Konrad, Harvey Weinstein

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Get in, fashionista! We’re going shopping for Rachel McAdams‘ dress, a.k.a. the cutest iteration of the anti-jeans trend. Her latest denim-colored dress style is sleek, timeless and seriously slimming, and we found a version that takes it up a notch. Not only is our pick flattering, but it’s also buttery-soft and stretchy. Seriously, it’s a dream!

After receiving a star on the Hollywood Walk of Fame, McAdams beamed as she headed to Jimmy Kimmel Live — and her polished midi, coupled with bright white heels and a chic handbag, made her shine even brighter. This understated dress style is a luxurious alternative to denim, especially since it totally feels like loungewear.

Like McAdams’ pick, the Newshows midi dress features buttons down the front, long sleeves and a classy collar. It even has a similar split hem! However, the dresses differ in comfort. McAdams’ look has a stiff, blazer-like construction, whereas the Amazon twin is mega stretchy, almost like a second skin. Whether you’re running errands or having a board meeting, you’ll be as cozy as you are classy.

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We also need to talk about the fact that the budget-friendly alternative is so flattering. The front buttons and ribbed-knit material visually elongate the torso, making you appear instantly taller and leaner. Better yet, this bodycon midi is fitted at the top and looser toward the legs, so you’ll have a snatched, defined waist from every angle.

Shoppers can’t get enough of the fit, feel and wear-everywhere style. One happy reviewer noted this dress was “forgiving,” while another said it “helps hide bulges.” One person summed it all up and wrote, “The ribbed knit material is soft, stretchy and hugs your body in all the right places. [It’s] warm without being too heavy.  I love that this dress can be dressed up with heels or boots for a night out or worn casually with sneakers or flats. It’s incredibly versatile.”

Reviewers wear this sweater dress for daytime errands and formal events alike, so don’t be surprised if you rock it nonstop. It’s the easiest way to look sophisticated, rich and put together on the daily, from grocery trips to in-office days. You may just ditch your scratchy jeans for good!

Get the Newshows Bodycon Sweater Dress for $40 on Amazon! Please note, prices are accurate at the date of publication but are subject to change.

Not what you’re looking for? Shop other dresses on Amazon and don’t forget to check out Amazon’s Daily Deals here!

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Love it or argue about it for three straight hours — The Green Knight is one of those movies that refuses to leave your brain. Now, A24’s hypnotic medieval fantasy will be available to stream for free this March, giving audiences another chance to revisit (or finally experience) one of the studio’s most divisive releases.

Directed by David Lowery, the film reimagines the Arthurian legend of Sir Gawain with a moody, surreal twist. Dev Patel stars as Gawain, the reckless nephew of King Arthur who accepts a mysterious challenge from the towering, otherworldly Green Knight — a decision that sends him on a haunting journey through temptation, fear, honor, and self-doubt. The cast also includes Alicia Vikander in dual roles, Joel Edgerton, Sarita Choudhury, Sean Harris, and Ralph Ineson as the unforgettable Green Knight.

Upon release, the film sparked intense debate. Some praised its slow-burn atmosphere, philosophical depth, and painterly visuals. Others found its deliberate pacing and ambiguous ending frustrating. Either way, it became one of A24’s most talked-about projects — the kind of fantasy epic that feels more like a dream than a blockbuster.

Is ‘The Green Knight’ Worth Watching?

Image via A24

Collider’s review stated that The Green Knight was a darkly beautiful, hauntingly philosophical reimagining of the Arthurian legend — and a crowning achievement for director Lowery. Rather than delivering a straightforward tale of knightly triumph, the film unfolded as a meditative exploration of honor, mortality, and the uneasy space between glory and goodness. Patel’s performance was singled out as essential to the film’s power, grounding the mythic material in vulnerability and sincerity.

“The Green Knight is an astounding film, rich in its visuals, its storytelling, and its themes. For a filmmaker who is constantly challenging himself and finding humanistic values no matter the genre, The Green Knight is a crowning achievement for Lowery, and one that demands to be seen. It is a challenging film, but one where those who choose to meet those challenges and engage with the material will be richly rewarded from a story that has stood the test of time, and with a film that I believe will do the same.”

The Green Knight will stream for free on Kanopy next month.

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Release Date

July 29, 2021

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Runtime

130 minutes

Director

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David Lowery

Writers

David Lowery

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Producers

Aaron L. Gilbert, Macdara Kelleher, Edmund Sampson, James M. Johnston, Toby Halbrooks, Tim Headington, Jason Cloth, Theresa Page, Tomas Deckaj, Anjay Nagpal

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By Robert Scucci
| Published 14 seconds ago

One of my favorite I Think You Should Leave skits involves a burnt-out cop named Detective Crashmore, portrayed by the late, great Biff Wiff, who doesn’t even care if he dies “because everything has sucked lately.” He kicks down doors and pumps rooms full of lead before rattling off catchphrases like “You f****** suck!” He’s overtly angry, constantly butts heads with his commissioner, and arms himself to the teeth with comically large weapons before getting back to business after tragedy strikes.

While there’s no definitive way for me to prove it, I have reason to believe that Rutger Hauer’s Harley Stone in 1992’s Split Second was the inspiration for Detective Crashmore, because it’s basically the same character, aside from the fact that Split Second isn’t meant to be a parody.

Billed as a dystopian buddy cop science fiction action horror film, Split Second is an over-the-top exercise in swift and brutal justice, as our hero searches for answers in a string of serial slayings that have eluded him for years. While Split Second isn’t necessarily a comedy, Rutger Hauer’s cigar-smoking, coffee-swilling, gun-blasting Harley Stone is so deadpan in his badassery that I can’t help but imagine Biff Wiff studying this movie while preparing for the Tim Robinson sketch I love so much.

“He’ll Need Bigger Guns”

Set in 2008 London, Split Second wastes no time establishing Harley Stone as a hardened homicide detective who shoots first, asks questions later, and operates so firmly in his own lane that nobody can keep up with him or keep him under control on their best day. Coming in hot after his suspension is lifted, Harley is forced to let rookie officer and psychologist Dick Durkin (Neil Duncan) tag along on his investigations and report on any unstable behavior that he exhibits. 

Fortunately for Harley, his insane theory about a serial killer ripping the hearts out of its subjects is proven correct, allowing Dick to brush aside any psychological concerns he may have originally had. All they know is that the killer’s activity is linked to lunar cycles, and may have origins in the supernatural, extraterrestrial, or occult. 

Haunted by the case because the killer claimed the life of his partner, Foster McLaine (Steven Hartley), matters are complicated for Harley when his widowed wife, Michelle McLaine (Kim Cattrall) reenters his life and becomes one of the killer’s targets. With no solid leads to pursue, but every single comically large gun known to man at his disposal, Harley embarks with Dick on a blood-soaked quest to find the killer and end his reign of terror once and for all, making sure there’s plenty of collateral damage along the way. 

Extreme Buddy Cop Energy

Harley and Dick are the ultimate odd couple in Split Second, and their chemistry works better than it has any right to. You don’t get the usual fighting-over-the-radio-station trope here, but watching Dick slowly transform from idealistic rookie to chain-smoking, gun-toting, coffee-chugging badass under Harley’s influence is such a satisfying payoff. As they close in on the killer, they move as one in their efforts to keep Michelle safe and finally crack the case that has been tormenting Harley for years.

Split Second’s violence is my favorite kind of violence because it’s so gratuitous you can’t take it seriously. Blood is bright red and splatters everywhere, hearts are theatrically ripped from chests, pentagrams are carved into bodies, and coffee cups get chugged and tossed with reckless abandon. It’s pulpy and melodramatic, but played completely straight, which makes it impossible not to fall in love with these characters. They’re so accustomed to living in this world that everything they do feels second nature, with zero pretension.

A total VHS-era classic, Split Second is one of those movies you throw on simply because it’s so over-the-top in every conceivable way that you can’t help but love it. Marketed as “Blade Runner meets Alien,” it doesn’t really play like either film, but it’s unique enough in its execution to have real staying power as the low-budget B movie it was always destined to be.

As of this writing, Split Second is currently streaming for free on Tubi.

Prime Video’s 56 Days threw in a surprise twist — and some book changes — that shifted the trajectory of the show.

Based on Catherine Ryan Howard‘s novel of the same name, 56 Days follows couple Oliver (Avan Jogia) and Ciara (Dove Cameron) as they start an intense relationship after meeting in a supermarket. Their romance is questioned after an unidentifiable body is found in a bathtub.

In addition to Jogia and Cameron, Megan Peta Hill, Dorian Missick, Karla Souza, Patch Darragh, Kira Guloien and Celeste Oliva make up the cast. Jesse James Keitel, Matt Murray, David Klein and Alec Albert also appear in the show.

The biggest twist on the show was the reveal that both Ciara and Oliver weren’t honest about their lives. Oliver previously went under a name but changed it after he killed a boy — and someone else took the fall. The man who was arrested for the crime was none other than Ciara’s brother.

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Oliver assumed he set up a meet cute — except it was Ciara manipulating the situation. Her plan to get revenge took a turn when she developed feelings for Oliver. Ultimately they are able to overcome the lies and end up together — with a child.

As for the body in the bathtub? That was Oliver’s therapist Dan (Darragh), who convinced Ciara’s brother to take his own life in prison and blackmailed Oliver.

56 Days featured several book changes with the location being swapped to Boston over Dublin. There is also a COVID component that wasn’t included in the Prime Video series.

“Every single thread of the story pays off,” creators Lisa Zwerling and Karyn Usher told People in February about getting the author to sign off on the shifts. “Her book gave us such a sexy, emotional thrill-ride of a show. It was hugely important to us that she was happy.”

Jogia and Cameron broke down their favorite parts of bringing the show to life.

“Ciara could be this kind of manic pixie dream girl that’s gone off the rails if it was in someone else’s hands, who didn’t really see her as a sort of a — I hate this,” Cameron told The Wrap in February. “Yes, a person.”

She continued: “I was gonna say complex, and I hate it when people use that word to define female characters. But, you know, she’s a wholly formed person.”

Cameron elaborated on her developing her character, adding, “There’s some gaps in her personality that she has sort of filled in with things that I think she needed to survive, that she ascertained and gathered from the world on her own, when she was sort of neglected as a glass child, because everything was going wrong in the family, but a true, fully formed person, and not for his consumption, right? Which is what the role so easily could have been.”

56 Days is streaming on Prime Video.

The 1980s brought us some of the best movies in pop culture history. Ghostbusters, Aliens and The Terminator are just a few titles from a long list of exceptional cinema.

This February, Watch With Us takes a look back at three ’80s movies that you should run back a second time on streamers like Prime Video and Tubi, and we ranked them.

For this list, we run the genre gamut: we’ve got horror, comedy and a scintillating erotic thriller.

At the top of our list is Hellraiser, that classic horror movie that spawned a franchise.

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Reagan-era nostalgia reached its apex with Stranger Things because the 1980s are iconic for a reason. Something shifted in the pop culture landscape with the emergence of MTV and home video games, and cinema was right up there with producing defining media that has stood the test of time. So, Watch With Us put together a […]

British hedonist Frank (Sean Chapman) gets his hands on a mysterious puzzle box while traveling abroad, and when he opens it, he unleashes a portal to Hell that brings him the perfect synthesis of pleasure and pain. Unfortunately, to achieve this, his body is literally torn apart by a group of leather-clad demons. When Frank’s brother, Larry (Andrew Robinson), and his wife, Julia (Clare Higgins), move into Frank’s old house, they inadvertently bring Frank’s remnants back to life. Julia — Frank’s former lover — quickly becomes his servant, bringing Frank exactly what he needs to become whole again: human blood.

Before Butterball was relegated to delivering Uber Eats orders, he was one of the terrifying Cenobites in this cult classic horror from 1987. Though reaction was initially divided due to the admittedly extreme nature of the film, Hellraiser went on to become a franchise with nine sequels and a straight-to-streaming movie on Hulu in 2022. Hellraiser feels shocking to watch even in 2026 — the lurid practical effects, over-the-top performances and true thematic ambitiousness have allowed it to endure and feel fresh.

During the Great Depression, waitress Cecilia (Mia Farrow) is unhappily married to her brutish, neglectful husband Monk (Danny Aiello), who blows what little money she makes on booze and gambling. To escape the misery of her life, Cecilia seeks refuge in the movies. But when she becomes obsessed with the new film The Purple Rose of Cairo, she rewatches it enough times that her transfixion causes the lead character, Tom Baxter (Jeff Daniels), to emerge from the screen. Initially overjoyed at fiction and reality merging, Cecilia eventually realizes that the two were never meant to mix in such a way, and she has to get Tom back into his movie world.

Funny, sweet and inventive in equal measure, The Purple Rose of Cairo is a loving testament to the emotional power of movies and a compelling take on the line between reality and fiction. Everyone in the cast is superb, but Daniels shines in his breakout performance, and the chemistry between him and Farrow is warm and captivating. At a breezy and scant 84 minutes, The Purple Rose of Cairo manages not to waste a single minute of its time.

Electronics store owner Bobby Grady (John Laughlin) moonlights taking surveillance jobs, and he’s hired by a businessman to spy on a fashion designer whom he suspects is committing white-collar crimes. However, Bobby’s investigation into Joanna Crane (Kathleen Turner) reveals her dabbling in something a bit more salacious — spending her nights as a fetish sex worker named China Blue. Bobby can’t help but be intrigued by Joanna, but his pursuit of her in a sexual and then romantic manner is complicated by one of Joanna’s particularly disturbed clients: a sexually deviant priest (Anthony Perkins) who has taken to stalking her.

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It’s always the right time to watch a good horror movie. But October is prime spooky season, and to stream a merely OK horror movie just seems wrong. To avoid doing the scariest month of the year dirty, Watch With Us has compiled a list of the 10 best horror movies of the 1980s, when […]

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Crimes of Passion still divides audiences to this day, although its reputation has grown in more recent years, with more and more regarding it as a classic of the erotic thriller genre. The film stands out with its distinct, expressive cinematography, colorful lighting and production design, plus the melodramatic score and Laughlin, Turner and Perkins positively chewing the scenery. If you enjoy provocative works of art that are daring, surreal and uncompromising in their exploration of human sexuality, try Crimes of Passion on for size.