---
title: "New reviews"
canonical: "https://film.one/films/new"
region: "US"
total: 1230
shown: 60
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# New reviews

What we have reviewed most recently, newest first: the place to see what has been added this week.

For US. 1,230 titles; 60 listed here. Add `?region=XX` for another country.

- [*To Be or Not to Be*](https://film.one/film/to-be-or-not-to-be.md) — 1942 · Fi1m 87 · NR · 1h 39m · Comedy/War · on HBO Max
  Ernst Lubitsch makes theatrical vanity useful in a sharp, unnerving anti-Nazi comedy. Jack Benny and Carole Lombard give it its comic assurance, though the early stretches take longer than they should to find their pace.
- [*The Lady Eve*](https://film.one/film/the-lady-eve.md) — 1941 · Fi1m 90 · 1h 37m · Comedy/Romance
  Preston Sturges makes a sharp, funny romance that trusts Barbara Stanwyck to be clever, calculating and vulnerable at once. Henry Fonda is a fine partner, even when the slapstick gets a little insistent.
- [*Sullivan's Travels*](https://film.one/film/sullivans-travels.md) — 1941 · Fi1m 88 · NR · 1h 31m · Comedy/Romance
  Preston Sturges makes a sharp, generous comedy about a filmmaker who thinks comedy is beneath him. Joel McCrea and Veronica Lake keep it human, even when its defence of entertainment starts to sound a little too comfortable.
- [*The Maltese Falcon*](https://film.one/film/the-maltese-falcon.md) — 1941 · Fi1m 87 · PG · 1h 40m · Mystery/Crime · on HBO Max
  John Huston’s detective thriller is sharp, funny and properly cold, with Humphrey Bogart making every exchange feel risky. The plotting can feel cramped and the talk occasionally stiff, but the actors give us ample reason to keep listening.
- [*Rebecca*](https://film.one/film/rebecca.md) — 1940 · Fi1m 85 · NR · 2h 10m · Mystery/Romance
  Alfred Hitchcock’s *Rebecca* is an absorbing, unsettling romance, with Joan Fontaine making insecurity painfully recognisable and Judith Anderson making it dangerous. The closing stretch loses some of that precision, but the unease is worth staying with.
- [*The Philadelphia Story*](https://film.one/film/the-philadelphia-story.md) — 1940 · Fi1m 84 · NR · 1h 53m · Comedy/Romance · on Tubi
  George Cukor’s society comedy is funny, romantic and worth an evening for Katharine Hepburn, Cary Grant and James Stewart alone. Its treatment of Tracy Lord is harder to embrace, especially when forgiveness starts sounding like a duty.
- [*His Girl Friday*](https://film.one/film/his-girl-friday.md) — 1940 · Fi1m 90 · NR · 1h 32m · Comedy/Romance · on Pluto TV, The Roku Channel, Tubi
  Howard Hawks makes newspaper work look irresistible without pretending its practitioners are decent. Cary Grant and Rosalind Russell give the romantic sparring extraordinary precision; the constant clamour is the price of an unusually sharp comedy.
- [*Stagecoach*](https://film.one/film/stagecoach.md) — 1939 · Fi1m 84 · G · 1h 36m · Western · on Amazon Prime Video, HBO Max, The Roku Channel, Tubi
  John Ford’s Western gives its passengers the attention that makes the action matter. It is a gripping ensemble adventure, with a serious caveat about its treatment of the Apache.
- [*Mr. Smith Goes to Washington*](https://film.one/film/mr-smith-goes-to-washington.md) — 1939 · Fi1m 84 · NR · 2h 10m · Comedy/Drama · on Tubi
  Frank Capra makes political innocence funny and unexpectedly moving, with James Stewart and Jean Arthur keeping the sentiment lively. Its faith in personal decency asks for indulgence, but the comedy earns it.
- [*The Rules of the Game*](https://film.one/film/the-rules-of-the-game.md) — 1939 · Fi1m 91 · NR · 1h 50m · Drama/Comedy
  Jean Renoir’s comedy of romantic intrigue is funny, unsettling and worth the concentration it demands. The busy opening can make its people hard to distinguish; once they settle into view, their small evasions become painfully recognisable.
- [*Bringing Up Baby*](https://film.one/film/bringing-up-baby.md) — 1938 · Fi1m 88 · NR · 1h 42m · Comedy/Romance
  Howard Hawks’s farce is fast, funny and unusually ruthless about romantic pursuit. Cary Grant and Katharine Hepburn make the confusion precise, though the film gives us less breathing space than their performances occasionally deserve.
- [*The Lady Vanishes*](https://film.one/film/the-lady-vanishes.md) — 1938 · Fi1m 88 · NR · 1h 36m · Mystery/Thriller · on Amazon Prime Video, HBO Max, The Roku Channel, Tubi
  Alfred Hitchcock’s railway mystery is tense, funny and alert to the excuses people make for ignoring trouble. Margaret Lockwood keeps it urgent even when the plotting becomes fussy.
- [*Duck Soup*](https://film.one/film/duck-soup.md) — 1933 · Fi1m 88 · NR · 1h 08m · Comedy/War
  Leo McCarey keeps *Duck Soup* brisk, rude and fiercely funny, with Groucho Marx making political vanity look impossible to cure. Some of the broader bullying wears thin, but the timing earns our patience.
- [*The 39 Steps*](https://film.one/film/the-39-steps.md) — 1935 · Fi1m 88 · NR · 1h 26m · Mystery/Thriller · on Amazon Prime Video, HBO Max, Pluto TV, Tubi
  Alfred Hitchcock’s brisk chase thriller is a pleasure because Robert Donat makes charm look useful under pressure. The opening is stiff, but the pursuit and Madeleine Carroll’s resistance soon give it something better to do.
- [*It Happened One Night*](https://film.one/film/it-happened-one-night.md) — 1934 · Fi1m 88 · NR · 1h 45m · Comedy/Romance · on The Roku Channel, Tubi
  Frank Capra’s romantic comedy is funny, sexy and excellent company. Clark Gable and Claudette Colbert make the bickering worth listening to, though the assumption that she needs taking in hand has worn less well.
- [*Bride of Frankenstein*](https://film.one/film/bride-of-frankenstein.md) — 1935 · Fi1m 89 · NR · 1h 15m · Horror/Science Fiction · on Peacock
  James Whale makes room for laughter without treating the creature as a joke. Boris Karloff and Ernest Thesiger make this an unusually moving horror sequel, though Elsa Lanchester deserves more of its 75 minutes.
- [*Battleship Potemkin*](https://film.one/film/battleship-potemkin.md) — 1925 · Fi1m 88 · NR · 1h 15m · Drama/History · on HBO Max, Pluto TV, The Roku Channel, Tubi
  Sergei Eisenstein’s *Battleship Potemkin* is gripping, angry cinema, made with remarkable precision. Its officers are thinly drawn, but the cutting makes the sailors’ revolt feel urgent even when the politics are blunt.
- [*The Cabinet of Dr. Caligari*](https://film.one/film/the-cabinet-of-dr-caligari.md) — 1920 · Fi1m 87 · NR · 1h 17m · Drama/Horror · on Tubi
  Robert Wiene’s silent horror still unsettles, chiefly through Conrad Veidt and sets that give the eye nowhere comfortable to rest. The relentless crookedness occasionally grows tiresome, but we recommend it warmly.
- [*The Passion of Joan of Arc*](https://film.one/film/the-passion-of-joan-of-arc.md) — 1928 · Fi1m 94 · NR · 1h 21m · Drama/History · on HBO Max, The Roku Channel, Tubi
  Carl Theodor Dreyer makes a church trial painfully immediate, with Maria Falconetti giving us a woman whose faith does nothing to remove her fear. We recommend it without hesitation, though its close-ups can be exhausting.
- [*Sherlock Jr.*](https://film.one/film/sherlock-jr.md) — 1924 · Fi1m 91 · NR · 45m · Action/Comedy · on Tubi
  Buster Keaton makes a superb detective comedy in which the smallest movement can earn a large laugh. The courtship is thin, but the visual jokes justify every minute of its modest length.
- [*Sunrise: A Song of Two Humans*](https://film.one/film/sunrise-a-song-of-two-humans.md) — 1927 · Fi1m 88 · NR · 1h 34m · Drama/Romance · on The Roku Channel, Tubi
  F. W. Murnau’s silent marriage drama makes a simple story painfully intimate through mobile camerawork and delicate acting. The women deserve more room beyond the husband’s troubles, but the performances make this a warm recommendation.
- [*Being There*](https://film.one/film/being-there.md) — 1979 · Fi1m 84 · PG · 2h 10m · Comedy/Drama
  Peter Sellers is quietly funny as a gardener mistaken for a political thinker. Hal Ashby’s patient satire sometimes repeats itself, but its warmth and carefully judged performances make it worth the pauses.
- [*Killer of Sheep*](https://film.one/film/killer-of-sheep.md) — 1978 · Fi1m 90 · 1h 20m · Drama
  Charles Burnett finds humour and tenderness in a Watts family’s exhausting daily routine. The episodic storytelling and some hesitant acting take adjustment, but this is a deeply affecting film we would readily recommend.
- [*American Graffiti*](https://film.one/film/american-graffiti.md) — 1973 · Fi1m 84 · PG · 1h 52m · Comedy/Drama
  George Lucas makes teenage cruising funny, awkward and unexpectedly moving, with cars and radio doing much of the storytelling. A few conversations outstay their welcome, but the affection for these uncertain young people is well earned.
- [*Kramer vs. Kramer*](https://film.one/film/kramer-vs-kramer.md) — 1979 · Fi1m 82 · PG · 1h 45m · Drama
  Robert Benton’s divorce drama earns its tears through Dustin Hoffman and Justin Henry’s closely observed father-son relationship. Meryl Streep makes the uneven sympathy harder to excuse, but the performances carry a persuasive, moving film.
- [*Saturday Night Fever*](https://film.one/film/saturday-night-fever.md) — 1977 · Fi1m 78 · R · 1h 58m · Drama
  John Travolta’s dancing and uneasy charm make *Saturday Night Fever* worth the evening. John Badham takes the frustrations behind the disco seriously, though the writing grows heavy and the women receive less care than they deserve.
- [*Grease*](https://film.one/film/grease.md) — 1978 · Fi1m 76 · PG · 1h 50m · Romance/Comedy
  *Grease* earns its pleasures through the songs, John Travolta’s dancing and Stockard Channing’s sharpness. The romance is thin and the sexual politics need questioning, but the performances make the evening worthwhile.
- [*M*A*S*H*](https://film.one/film/m-a-s-h.md) — 1970 · Fi1m 72 · R · 1h 56m · Comedy/Drama · on Amazon Prime Video
  Robert Altman’s *M*A*S*H* is a funny, bloody war comedy worth seeing for its actors and its unruly sound. Its indulgence of the surgeons’ bullying makes some of the laughter difficult to share.
- [*Papillon*](https://film.one/film/papillon.md) — 1973 · Fi1m 74 · PG · 2h 31m · Crime/Drama · on Tubi
  Steve McQueen and Dustin Hoffman make *Papillon* worth its long confinement. The penal colony feels oppressive, and the performances hold us, even when the episodic story and insistent music make an already slow film feel longer.
- [*Patton*](https://film.one/film/patton.md) — 1970 · Fi1m 82 · PG · 2h 52m · War/Drama · on Amazon Prime Video
  A commanding George C. Scott performance makes *Patton* worth the long evening. Franklin J. Schaffner handles the battles with assurance, though his fascination with the general sometimes gets in the way of judging him.
- [*Marathon Man*](https://film.one/film/marathon-man.md) — 1976 · Fi1m 74 · R · 2h 06m · Thriller/Crime · on Paramount+, Pluto TV
  Laurence Olivier makes John Schlesinger’s uneven thriller worth the trouble. The conspiracy takes too long to come into focus, but the performances are convincing enough to make the danger feel horribly close.
- [*Three Days of the Condor*](https://film.one/film/three-days-of-the-condor.md) — 1975 · Fi1m 80 · R · 1h 57m · Thriller/Mystery · on Pluto TV
  Sydney Pollack’s CIA thriller is tense, lucid and sustained by Robert Redford’s watchful intelligence. The romance is harder to believe than the conspiracy, but the pursuit gives us ample reason to stay with it.
- [*The Day of the Jackal*](https://film.one/film/the-day-of-the-jackal.md) — 1973 · Fi1m 84 · PG · 2h 23m · Action/Thriller
  Fred Zinnemann’s patient assassination thriller makes the work absorbing. Edward Fox is chillingly persuasive, and the procedural detail sustains the long pursuit, though the politics receive disappointingly little attention.
- [*Life of Brian*](https://film.one/film/life-of-brian.md) — 1979 · Fi1m 88 · R · 1h 34m · Comedy · on Peacock, The Roku Channel
  Terry Jones makes *Life of Brian* a sharp, generous comedy about people who cannot leave one another alone. Graham Chapman makes Brian worth caring about, though the chase begins to repeat itself.
- [*Sleuth*](https://film.one/film/sleuth.md) — 1972 · Fi1m 82 · PG · 2h 18m · Thriller/Mystery
  Laurence Olivier and Michael Caine make *Sleuth* a sharp, funny and increasingly unpleasant contest of wills. The plotting occasionally overdoes the cleverness, and the film runs long, but their performances make it well worth the time.
- [*The Man Who Fell to Earth*](https://film.one/film/the-man-who-fell-to-earth.md) — 1976 · Fi1m 82 · R · 2h 19m · Science Fiction/Drama · on The Roku Channel, Tubi
  Nicolas Roeg’s alien visitor finds a planet full of temptations and little comfort. David Bowie’s gentle performance makes this strange, disjointed science fiction moving, though the wandering second half asks for more patience than it always earns.
- [*Mad Max*](https://film.one/film/mad-max.md) — 1979 · Fi1m 78 · R · 1h 31m · Action/Thriller · on Tubi
  George Miller’s road thriller is worth an evening for its frightening chases and Mel Gibson’s presence. The dialogue is crude and the acting uneven, but the cars feel heavy enough to do lasting damage.
- [*Performance.*](https://film.one/film/performance.md) — 1970 · Fi1m 81 · R · 1h 46m · Crime/Drama
  Donald Cammell and Nicolas Roeg make a gangster’s search for shelter frightening, seductive and occasionally tiresome. James Fox and Mick Jagger keep *Performance.* worth the effort when its psychedelic interruptions grow too pleased with themselves.
- [*Walkabout*](https://film.one/film/walkabout.md) — 1971 · Fi1m 85 · PG · 1h 35m · Adventure/Drama · on HBO Max
  Nicolas Roeg’s outback drama is moving, disquieting and worth giving your full attention. Its young cast and desert images hold us, though the contrast between wilderness and civilisation sometimes makes the people too simple.
- [*The Conformist*](https://film.one/film/the-conformist.md) — 1971 · Fi1m 87 · R · 1h 48m · Drama
  Bernardo Bertolucci makes the wish to fit in frightening, helped by Jean-Louis Trintignant and Vittorio Storaro’s seductive images. We recommend it, despite a tendency to make sexual repression explain too much of its central man’s politics.
- [*Wake in Fright*](https://film.one/film/wake-in-fright.md) — 1971 · Fi1m 86 · R · 1h 49m · Drama/Thriller · on The Roku Channel, Tubi
  An offer of a drink becomes hard to refuse in Ted Kotcheff’s frightening outback thriller. Gary Bond and Donald Pleasence are excellent, though the film’s repeated lessons about men grow predictable, and its real animal cruelty demands a warning.
- [*Amarcord*](https://film.one/film/amarcord.md) — 1973 · Fi1m 82 · R · 2h 03m · Comedy/Drama · on HBO Max
  Federico Fellini’s *Amarcord* is funny, tender and generous towards people who can be exhausting company. The crowded town scenes and Nino Rota’s music make its wandering worthwhile, though the jokes about women grow tiresome.
- [*Scenes from a Marriage*](https://film.one/film/scenes-from-a-marriage-1974.md) — 1974 · Fi1m 88 · 2h 49m · Drama/Romance
  Ingmar Bergman’s marital drama is painful, absorbing and worth the strain, with Liv Ullmann and Erland Josephson giving the quarrels an uncomfortable familiarity. The length and repeated arguments can wear us down, but the attention to these two people earns it.
- [*The Discreet Charm of the Bourgeoisie*](https://film.one/film/the-discreet-charm-of-the-bourgeoisie.md) — 1972 · Fi1m 83 · PG · 1h 41m · Comedy · on Tubi
  Luis Buñuel turns interrupted dinners into a dry, unsettling comedy, with a cast that never begs for laughs. A few interruptions repeat a joke we have already understood, but the acting keeps these entitled people entertaining.
- [*Cries and Whispers*](https://film.one/film/cries-and-whispers.md) — 1972 · Fi1m 87 · R · 1h 35m · Drama · on HBO Max
  Ingmar Bergman makes *Cries and Whispers* a harrowing study of care that we recommend with a warning about its severity. The four leads give the women more life than their rather schematic roles promise.
- [*The Spirit of the Beehive*](https://film.one/film/the-spirit-of-the-beehive.md) — 1973 · Fi1m 87 · 1h 38m · Drama/Fantasy
  Víctor Erice makes a child’s fascination with Frankenstein quietly unsettling, with Ana Torrent giving the film its emotional force. The beautiful images occasionally hold us at a distance, but this is patient, affecting work worth the attention it asks for.
- [*Stalker*](https://film.one/film/stalker.md) — 1979 · Fi1m 86 · NR · 2h 42m · Science Fiction/Drama · on HBO Max
  Andrei Tarkovsky’s *Stalker* is a slow, unsettling science-fiction film that rewards close attention. The philosophical talk sometimes grows heavy, but the faces, music and green Zone make this a journey we warmly recommend.
- [*Aguirre, the Wrath of God*](https://film.one/film/aguirre-the-wrath-of-god.md) — 1972 · Fi1m 91 · NR · 1h 35m · History/Adventure · on Tubi
  Werner Herzog’s jungle adventure is an unnerving study of greed, carried by Klaus Kinski’s frightening performance and the physical force of the river journey. The supporting characters can be thin; we would recommend it without hesitation.
- [*Eraserhead*](https://film.one/film/eraserhead.md) — 1977 · Fi1m 84 · NR · 1h 29m · Horror/Science Fiction · on HBO Max, Tubi
  David Lynch makes parenthood frightening and darkly funny in *Eraserhead*, with Jack Nance providing a vulnerable human centre. The industrial sound and bodily horror are hard to shake, though the sustained bleakness can become tiring.
- [*Dawn of the Dead*](https://film.one/film/dawn-of-the-dead.md) — 1978 · Fi1m 86 · NR · 2h 07m · Horror/Science Fiction
  George A. Romero’s shopping-mall horror is savage, funny and worth the discomfort. Its consumer satire is blunt and occasionally repetitive, but the violence has a purpose beyond testing how much we can stomach.
- [*Carrie*](https://film.one/film/carrie.md) — 1976 · Fi1m 86 · R · 1h 38m · Horror/Thriller · on HBO Max
  Brian De Palma’s *Carrie* is frightening because Sissy Spacek makes its bullied schoolgirl matter. We recommend it warmly, with a reservation about a camera that sometimes seems as interested in girls’ bodies as their distress.
- [*The Texas Chain Saw Massacre*](https://film.one/film/the-texas-chain-saw-massacre.md) — 1974 · Fi1m 87 · R · 1h 23m · Horror · on AMC+, Netflix, Peacock, Tubi
  Tobe Hooper makes human violence feel appallingly close through precise framing, sparse music and suggestion. We recommend this ferociously effective horror film, with a warning: the relentless scares leave little room for its characters to become more than victims.
- [*Annie Hall*](https://film.one/film/annie-hall.md) — 1977 · Fi1m 86 · PG · 1h 33m · Comedy/Drama · on The Roku Channel, Tubi
  Woody Allen’s *Annie Hall* is a funny, tender romance, with Diane Keaton giving its constant self-examination a welcome warmth. The jokes are plentiful and often excellent, though they sometimes interrupt feelings the film ought to stay with.
- [*Halloween*](https://film.one/film/halloween.md) — 1978 · Fi1m 88 · R · 1h 31m · Horror/Thriller
  John Carpenter’s *Halloween* earns its scares through patient framing, ordinary houses and a score that makes waiting uncomfortable. The dialogue is less assured, but Jamie Lee Curtis gives this carefully made horror film someone worth worrying about.
- [*Close Encounters of the Third Kind*](https://film.one/film/close-encounters-of-the-third-kind.md) — 1977 · Fi1m 85 · PG · 2h 17m · Science Fiction/Drama
  Steven Spielberg makes the prospect of alien contact feel worth the disruption, helped by Richard Dreyfuss’s restless curiosity and John Williams’s expansive score. The middle wanders, and the family drama deserves more care, but the wonder is persuasive.
- [*Manhattan*](https://film.one/film/manhattan.md) — 1979 · Fi1m 78 · R · 1h 36m · Comedy/Drama · on Pluto TV, The Roku Channel, Tubi
  Woody Allen’s New York comedy earns its warmth through Diane Keaton and Mariel Hemingway, with Gordon Willis’s black-and-white photography doing plenty of persuading. The jokes hold up better than the increasingly solemn romance.
- [*The Long Goodbye*](https://film.one/film/the-long-goodbye.md) — 1973 · Fi1m 86 · R · 1h 52m · Mystery/Drama · on Amazon Prime Video, Pluto TV, Tubi
  Robert Altman gives Philip Marlowe a funny and quietly painful encounter with the 1970s. Elliott Gould makes the detective’s stubborn decency worth caring about, even when the mystery becomes harder to follow than it needs to be.
- [*Days of Heaven*](https://film.one/film/days-of-heaven.md) — 1978 · Fi1m 85 · PG · 1h 34m · Drama/Romance
  Terrence Malick’s wheat-field romance is beautiful, uneasy and worth your patience. Its lovers can seem remote, but Linda Manz’s dry narration keeps the light and music from making their troubles seem too grand.
- [*Harold and Maude*](https://film.one/film/harold-and-maude.md) — 1971 · Fi1m 81 · PG · 1h 32m · Comedy/Drama
  Hal Ashby’s *Harold and Maude* makes its morbid courtship funny and unexpectedly touching. Bud Cort and Ruth Gordon keep the romance believable, even when the script grows too pleased with its own disregard for convention.
- [*Five Easy Pieces*](https://film.one/film/five-easy-pieces.md) — 1970 · Fi1m 88 · R · 1h 38m · Drama · on The Roku Channel, Tubi
  Bob Rafelson’s drama gives Jack Nicholson a difficult man worth spending time with. The film occasionally indulges his behaviour, but its humour, discomfort and performances give us plenty of reason to stay.

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© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/films/new