In an era where streaming services dominate the entertainment landscape, Tubi stands out by offering a diverse and expansive library of films at no cost to its users. With its eclectic mix of genres and eras, Tubi presents a unique opportunity for movie enthusiasts to explore hidden gems and revisit classics. Clearly curated by true cinephiles, their catalogue promises not just entertainment, but a broadened cinematic horizon. Whether you’re a fan of indie flicks, blockbuster hits, or cult classics, Tubi’s extensive library ensures that there’s always something new and exciting to watch. Join us as we delve into the adventure of watching a movie a week on Tubi, where hopefully you find your new favorite movie or at least an interesting gem worth recommending.
When a Stranger Calls Back (1993)
When a Stranger Calls has, in my opinion, the greatest opening to any horror film ever. It packs more white-knuckle suspense in its first fifteen minutes than most films can pull off within their entire running time. It’s not as fun as Ghost Ship or pulse-pounding as the Dawn of the Dead remake nor is it as iconic as Jaws and Night of the Living Dead but no other film jangles the nerves as effectively. It assaults the viewer with weaponized terror, a feat only two other films have accomplished: Them and the underseen sequel to When a Stranger Calls.
When a Stranger Calls Back feels like a precursor to the 2018 Halloween in that it’s a reboot as much as it is a sequel. Like David Gordon Green’s film, it takes the best elements of the last film and tries to improve upon them. Such as adding levels of complexity to the female lead, dialing up the creepiness, and outdoing its iconic beginning (the latest Halloween moves the single shot attack to the middle) but unlike that film, When a Stranger Calls Back actually succeeds. It’s heads and shoulders above the last film in every way. The opening is just as impactful, it doesn’t drag in the middle, has a far more memorable villain, and the ending, while not as scary, is satisfying in its own way. Craven needs to cut this film a royalty check for stealing its beginning for his film Scream.
Magic (1978)
Anthony Hopkins is a legend who has countless unbelievable performances to his name and while he’s most associated with that one charming cannibal he played a couple of times, I feel like that’s not the role you should think of when you think of him. His role as Charles “Corky” Withers, a failed magician turned super successful ventriloquist with his dummy Fats, is one of the most unhinged, manic, sweaty, and dialed-in performances I’ve ever seen. He fully commits to the role and it’s a role that demands a lot from an actor. Corky has severe psychological issues and starts to lose his grip on reality, leading to a disturbing and symbiotic relationship with Fats.
The film keeps you guessing whether or not Fats is real up till the very end but the mystery is nowhere near as intriguing as the slow degradation of the main character. Watching his mental state get progressively more chaotic, adds a level of danger to every scene that a simple killer doll movie could never pull off. It’s a chilling and compelling performance. His ability to convey the character’s vulnerability and descent into insanity is a highlight of the film. Speaking of highlights, the best scene in the film involves his manager (Burgess Meredith) making a bet with him that he can’t go more than two minutes without Fats. Watching Hopkins’ meltdown in real time is a masterclass in acting. Magic (if it is talked about at all) usually gets lumped in with the killer doll subgenre but it’s so much more than that. Its an exploration of mental illness and the human psyche, combined with a gripping narrative and strong performances which makes it a compelling and haunting watch.
Odd Thomas (2013)
I miss Stephen Sommers. His films, while not exactly good, had a unique energy and charm to them. They felt in many ways, like the precursor to what Marvel would eventually do years later. He created fun adventure films with the sole purpose to entertain. That’s it. Just fun movies that didn’t feel like cynical cash grabs or nostalgia porn. And that’s kinda Odd Thomas in a nutshell. It’s a film with many noticeable problems but is held together with yards and yards of fun rope. Or string. Fun, along with Yelchin, is the glue that holds this film together. That’s a better analogy. A short-order cook who can see the dead stumbles on to a conspiracy involving a mysterious man and decides to do something about it. It ain’t high art people. It’s Yelchin fighting weird ghost monsters and encountering even weirder people. If you aren’t immediately intrigued, it’s probably not for you.
Drowning by Numbers (1988)
There are many contenders to the title of the most underrated director of all time but few put up as strong a fight as Peter Greenaway. The man has been working almost non-stop for 62 years and has several critically acclaimed shorts and films to show for it. His most prolific and artistically rewarding period was the 1980s. Within that decade, he released nine shorts, three TV movies, and six films, all masterpieces. The Draughtsman’s Contract, A Zed & Two Noughts, and The Cook, the Thief, His Wife & Her Lover were all released within a couple of years of each other and all three are arguably his most well-known films and while they’re all great, I’d argue the lesser discussed black comedy Drowning by Numbers should be listed right alongside them as one of his best.
The film tells the story of three generations of women, all named Cissie Colpitts, who consecutively drown their husbands. The film follows Cissie I (Joan Plowright), Cissie II (Juliet Stevenson), and Cissie III (Joely Richardson) as they navigate their personal vendettas and orchestrate their crimes with the help of the local coroner, Madgett (Bernard Hill), who becomes an unwilling accomplice. True to its title, Drowning by Numbers incorporates a numerical motif throughout the film. Numbers from 1 to 100 appear sequentially in the background, influencing the film’s structure and serving as a game for the audience to spot. This reflects his fascination with order, pattern, and the absurdity of life. It’s a quintessential Greenaway film, showcasing his unique blend of visual artistry, thematic complexity, and dark humor. Its exploration of control, mortality, and the interplay between order and chaos makes it a compelling and thought-provoking cinematic experience.
Aaron Loves Angela (1975)
Romeo and Juliet has been reworked about a million times at this point. It’s been the template for things as wildly diverse as Stephen Sondheim musicals to vampire werewolf blood feuds. It’s a strong story structure but it’s also been done to death. There’s no avenue or fresh take that hasn’t already been explored ad nauseam. Gordon Parks Jr. isn’t the first to try and update the doomed love story by having it be about race rather than class, but he probably did it better than anyone else. The movie is a poignant exploration of young love amidst cultural tensions in 1970s Harlem. It tells the story of Aaron (Kevin Hooks), an African-American teenager, and Angela (Irene Cara), a Puerto Rican girl, who navigate their burgeoning romance despite the disapproval of their families and the challenges posed by their different backgrounds. Their relationship is met with resistance from their communities, highlighting the racial prejudices and cultural divides of the time. Aaron’s friends and Angela’s family both express their disapproval, creating a tense and sometimes dangerous environment for the young couple. It’s a story you’re intimately familiar with whether you’re a fan of the immortal bard or not.
Like I said, it’s been done a million times before and after this but Parks Jr. brings to the project something most other adaptations don’t have behind the camera: talent. Parks Jr. is a talented fucking director who can turn even the most hackneyed or cliched story and infuse it with lived-in humanity. He captures the vibrancy and struggles of Harlem life, using the setting as a character in itself. The film is notable for its authentic portrayal of the neighborhood, with scenes shot on location adding to the gritty realism. The soundtrack, featuring soul and Latin music, further immerses the audience in the cultural landscape of the period. Aaron Loves Angela is more than just a love story; it’s a commentary on the social issues of the era, including race relations, economic disparity, and the search for identity. The film’s themes resonate with audiences, making it a significant piece in the canon of 1970s cinema.
These are my Tubi Movies of the Week. Have you seen any of them? Did you watch them on Tubi? Sound off in the comments!
