The best movies to watch on Neon

Tony Stamp has perused the NEON catalogue and picked the very best films currently available to stream.

See also
* All new movies & series on NEON
* All new streaming movies & series

Aftersun (2022)

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Let’s not mince words: this movie will break your heart. I’ve yet to meet anyone who hasn’t been emotionally pulverised by its end, but the film’s magic lies in how it achieves that, light years removed from the approach of a typical weepy. Frankie Corio and Paul Mescal both give naturalistic, vulnerable performances, and while director Charlotte Wells is more interested in feeling than plot, it’s the small moments that really leave a bruise.

Asteroid City (2023)

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Each Wes Anderson release sees him perfect his mix of rigid visual tableaus and human drama, reaching a new level of artificial reality in Asteroid City. At times cartoonish, always deadpan, and occasionally devastating, it sees the director indulge his love of tales within tales, resulting in myriad layers of storytelling that bump up against each other in comedic and sometimes moving ways.

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Babylon (2023)

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Damien Chazelle’s fifth directorial effort was largely derided upon its release, but there’s no denying its ambition—with its expansive dance sequences, absurdly inflated debauchery, and late descent into pure horror movie territory. It’s nothing if not entertaining. Pitt, Robbie, and eventually, Toby Maguire give it their all, with extremely gonzo results.

Body Double (1984)

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Brian De Palma took plotlines from some of Hitchcock’s best and dialled up the voyeurism, delivering one of the ‘80s silliest, most self-reflexive erotic thrillers. Gleefully over the top, Body Double sees Craig Wasson hopelessly outmatched against the sinister forces he stumbles across, going so far in his pursuit of the mysterious Holly Body, (Melanie Griffith), that he manages to get cast opposite her in a remarkably elaborate porn film. De Palma’s knack for this type of lunacy is unmatched.

Collateral (2004)

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One of Tom Cruise’s best performances (please play a villain again Tom!) and one of Jamie Foxx’s too—not to mention the appearance by a scene-stealing Jada Pinkett-Smith. That’s Michael Mann for you, deploying typically muscular filmmaking to bolster a no-nonsense story of hapless hero meeting hitman. He uses pioneering digital cinematography to showcase Los Angeles and delivers a one-crazy-night showstopper.

Constantine (2005)

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The subject of a well-deserved critical reappraisal (which led to talks of a sequel all these years later), Keanu’s 2005 comic-book adaptation is a total blast, particularly if you’re into fiction that dabbles in the overlap between biblical and supernatural. Rachel Weisz adds support but Tilda Swinton and Peter Stormare walk away with the movie, turning in delicious performances as the archangel Gabriel and Lucifer himself.

The Dirty Dozen (1967)

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A two-fisted classic from Robert Aldrich, who had a reputation for pushing the limits of on-screen violence and celebrating a certain type of machismo. The Dirty Dozen might be the moment this approach reached its apex, and is the one he’s best remembered for. Following a premium crop of late-60s tough guys as they prepare for a suicide mission prior during WWll, it set a new high-bar for war movies to come.

Dungeons & Dragons: Honour Among Thieves (2023)

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The directorial team behind Game Night walk a similar line between comedy and adventure, delivering a fantasy caper that’s lighter than air and easily watchable regardless how much you know about the roleplaying game. A lead character that’s a perfect fit for Chris Pine (roguish, handsome), with Michelle Rodriguez in a more stoic role that’s quietly just as impressive. Even if monsters and magic aren’t your bag, there’s plenty here to like.

The Fabelmans (2022)

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The accusations of Oscar-bait against Spielberg’s pseudo-biopic rang false: this film is so specific and strange, positing the director’s love of filmmaking as a coping mechanism from someone unequipped to face the world without the aid of a lens. A series of life events that feel strikingly personal, The Fabelmans sports riveting performances from Paul Dano, Michelle Williams, and Seth Rogen. Plus there’s Spielberg’s usual virtuosic camera moves, this time pointing inward.

John Wick 4 (2023)

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Eye-popping Parisian setpieces by way of violent jaunts through Morocco and Japan, Donnie Yen being cool as hell, Bill Skarsgård being truly hateable, and as many slick suits and headshots as can be stuffed into one movie. The fourth instalment continues the franchise’s expansion into widescreen spectacle and arcane lore, always propulsive, with god-Keanu as ice-cool as ever.

The Lady From Shanghai (1947)

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Orson Welles’ 1947 noir was considered a disaster on its release, the director forgoing his credit after disagreeing with post-production choices imposed by the studio. Its reputation has increased markedly over time, though: Welles’ innovative camera work still impresses, as does the iconic final scene in a hall of mirrors. The film’s multiple plot threads cohere into a satisfying resolution.

The Lord Of The Rings: The Two Towers (2002)

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This entry could just be a list of things from the movie and you’d get the point. Gollum alone is a miracle, let alone the siege of Helm’s Deep, or Ents for that matter. Looking back, this film represents a lovely midpoint between practical SFX and CGI run amok, fueling a story that’s gob-smackingly epic. And more emotional than you’d expect from something that involves talking trees.

Mad Max: Fury Road (2015)

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George Miller came up with the original kernel for Fury Road in 1987, but didn’t wind up filming it till he was 70-years-old. Rumours ran rife that the production was troubled, and yet the movie is a total triumph; a blast of punk energy and the best action film of the last decade. Years after its release the praise is still deafening, and for very good reason.

Marcel the Shell with Shoes On (2022)

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A wryly funny, and, by the end, very touching mockumentary about an animate inanimate object, Jenny Slate delivers a fantastic vocal performance as the shell of the title, with director Dean Fleischer Camp essentially playing himself behind the camera. Expect life lessons from the perspective of something very tiny, ranging from how to traverse a house and beyond, to ones more cross-transferable to normal sized folks.

Millie Lies Low (2021)

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A local gem that deserves a lot more eyeballs on it, Michelle Savill’s cringe comedy follows the incredible Ana Scotney as Millie, faking her way through an overseas trip after she misses her flight due to a panic attack. An increasing number of complications ensue, culminating in scenes as hilarious as they are uncomfortable. Savill has more on her mind than awkwardness, though, and the film’s resolution is warm and wise.

Mission Impossible: Fallout (2018)

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The absolute high point of Tom Cruise’s partnership with writer-director Chris McQuarrie, and the Mission Impossible films in general. The pair mastered their stunts-first, story-second approach, concocting a dizzyingly propulsive chainlink of set pieces: the HALO drop into Paris, the nightclub-bathroom fight, the foot chase across London, the helicopter chase through scenic New Zealand vistas.

Murina (2021)

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This Croatian coming-of-age film is a simmering drama that’s worth your time, following a teenage girl facing off with her overbearing father as she undergoes life changes during a weekend on the remote island where they live. Darker than you might imagine, it’s a sinister slow-burn where the threat of disaster hangs over proceedings, brightening each time NZ actor Cliff Curtis appears in full charming-rogue mode.

Ocean’s Eleven (2001)

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Steven Soderbergh broke into the big leagues with this throwback heist movie full of megawatt Hollywood charm. It’s the definition of an easy watch: handsome men in suits cracking jokes while undertaking an absurdly complicated casino heist that’s only properly understood in retrospect. Loads of fun, with a great score by David Holmes.

The Piano (1993)

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Jane Campion’s tale of forbidden love in colonial Aotearoa still hits hard, as rough and unforgiving as the untamed coast. Plaudits went to Anna Paquin in her first role, as well as leads Holly Hunter, Harvey Keitel and Sam Neill, but it’s a film led foremost by director Jane Campion’s motley vision. As in all her films, she allows the characters to be muddied and impulsive, well-rounded with all their faults intact.

Pulp Fiction (1994)

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In 1994, emboldened by the success of Reservoir Dogs, Quentin Tarantino unleashed his grubby L.A. noir compendium on the world, and changed movies in the process. The following years saw myriad films trying to emulate his mixture of pop culture references and tough guy violence, but very few could match the cinematic verve on display here. Thirty years later Pulp Fiction is still shocking, engaging, and bursting with invention.

Raiders of the Lost Ark (1981)

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A distillation of Lucas lore, Spielberg chutzpah and Ford sex-appeal so potent, it’s still getting sequels 40 years after the fact. Debate will rage on about which is the best, but the original still tops most lists, a breathless mix of action setpieces, artefact intrigue, knowing humour, and still-shocking violence that countless filmmakers have been emulating ever since.

Spider-Man 2 (2004)

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Sam Raimi’s second stab at everyone’s favourite webslinger remains a high point in comic book movies, mixing thoroughly earnest sentiment with the director’s bag of whiz-bang visual tricks. The cast are all terrific, particularly a rightly heralded turn from Alfred Molina as the villainous Doc Ock. But the real hero is the filmmaking, which invests us in the life of Peter Parker before unleashing a series of impeccably staged action setpieces.

Spider-Man: Across the Spider-Verse (2023)

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Expanding on the unfettered imagination of the first Spider-Verse movie seemed like a tall order, only for its follow-up to vault over it with ease, introducing a ludicrous number of new Spider-Men (not all of them called Peter Parker). Mashing up different animation styles, each suiting their respective universe, the material is once again elevated by the emotional stakes of Miles Morales and his compatriots.

There’s Something Wrong With the Children (2023)

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If you’re adventurous enough to delve into some low budget horror and looking to scratch that particular itch, you could do worse than this 2023 curio, which gives away the game in its title but provides plenty else to ponder. Tensions run high amongst a group of adults on a camping trip when their offspring start to behave strangely, leading to calamitous consequences.

Teenage Mutant Ninja Turtles: Mutant Mayhem (2023)

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This reboot actually cast teenagers as the titular turtles (and from the sounds of things let them adlib and muck around behind the scenes), resulting in a version of the heroes that feels fresh and fun. They’re backed up by a great adult cast, including Jackie Chan and Ice Cube, and complemented with unique animation that values the clunkiness of stop motion over the usual CGI sheen.

The Mummy (1999)

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Reclaimed by subsequent generations as a forgotten popcorn classic, Stephen Sommers’ 1999 romp is at worst a lot of fun, pitting Brendan Fraser and Rachel Weisz against the boogeyman of the title (Imhotep to his friends). A remake of the 1932 original that ups the romance, mania, and makes good use of then-nascent digital effects, it’s aged nicely, with genuinely unnerving sequences alongside more family-friendly adventure.

Oppenheimer (2023)

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Winner of multiple Oscars in 2024 including Best Actor and Best Picture, Christopher Nolan’s blockbuster biopic delivers on all the levels he’s mastered over the years: hypnotic editing that juggles multiple timelines; the gravitas of important people making important decisions; bold, IMAX-sized imagery; and interesting human dramahere delivered by Cillian Murphy, Emily Blunt, Robert Downey Jr, Matt Damon, and an plethora of A-grade character actors.

War of the Worlds (2005)

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Spieberg’s adaptation of the H.G Wells classic is, aside from anything else, absolutely terrifying, presenting a ground level view of an alien invasion in which the humans are hopelessly outgunned. The superb effects are to be expected, but it still rattles with dark energy, the perpetually-running Tom Cruise a suitably panicked avatar for humanity. The film does deflate slightly near the end, but for the majority of its runtime it’s one of the greats.

Wild Things (1998)

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In 1998 the director of Henry: Portrait of a Serial Killer took a stab at the erotic thriller genre, assembling the unlikely cast of Neve Campbell, Matt Dillon, Denise Richards, Kevin Bacon, and Bill Murray, and produced something remarkably self-aware, and thoroughly entertaining. Deliciously convoluted, delightfully sordid, with enough twists to make Shyamalan blush, it’s the finest type of elevated trash.

The Woman King (2022)

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An historical action epic that did not receive its dues during awards season, Gina Prince-Bythewood’s muscular film is a breath of fresh air amongst increasingly stale Hollywood fare. Viola Davis is as fearsome as you might expect, and Lashana Lynch matches her with an equally piercing and physically accomplished performance. Prince-Bythewood rarely misses, and the kinetic filmmaking here is top notch.


This guide is regularly updated to reflect changes in NEON’s catalogue. For a list of capsule reviews that have been removed from this page because they are no longer available on the platform, visit here.