Many of the best movies in existence also happen to be the most rewatchable movies ever made. “Pain is temporary, film is forever.” That quote has been used ad nauseam to drive home the fact that cinema is engrained in permanent ink, and that however difficult or arduous the process of making a particular film, the end result is (hopefully) worth it. The truth is noteverymovie is worth standing the test of time, and some age more gracefully than others. But film is forever, and that’s one of the great things about the artform. Movies are always there, unchanged (unlessGeorge Lucasis involved), to revisit at any time you like. Everyone has their stable of movies they return to time and time again.
RELATED:The Best Drama Movies on Netflix Right Now
So the Collider staff put their heads together to generate a list of the most rewatchable movies of all time. These are films that, for a variety of reasons, hold up on repeat viewing after repeat viewing. Maybe they perfectly evoke a universal theme, or maybe they’re just immensely enjoyable. Some were even made to purposely reward repeat viewings with in-jokes and nods that are reflected in reveals later in the film. But all of these, we attest, are worth revisiting many times over.
So without further ado, we present to you the most rewatchable movies ever made.
Goodfellas (1990)
When filmmakerMartin ScorsesemadeGoodfellas, he was coming off the controversial reaction to his 1988 filmThe Last Temptation of Christand before that, the tepid reception toThe Color of Money. So you could say he had something to prove. Scorsese dug back into his Italian roots to craft one of the best gangster films of all time, with a contemporary spin. The result is a rollicking, epic, comic, and ultimately tragic tale of life in the mob from street-kid to rat. Scorsese proves his mastery of cinema with a film that is impeccably paced, filling out the ensemble with unforgettable performances fromRobert De Niro,Ray Liotta,Lorraine Bracco, and of courseJoe Pesci. The film has not one butmultiplepieces of cinema iconography in it, from the legendary Copacabana tracking shot to the frenetic, visceral “coked out cooking day” sequence. It is, obviously, tremendously watchable, and that Scorsese was able to combine such entertainment value with such rich storytelling is a testament to his talent. –Adam Chitwood
Ferris Bueller’s Day Off (1986)
If we were ranking this list in terms of rewatchability,Ferris Bueller’s Day Offwould be towards the top. By 1986,John Hugheshad perfected the “teen movie” format in a variety of ways, from the female-centric young love ofSixteen Candlesto the outsider POV ofThe Breakfast Club. But withFerris Bueller, Hughes tackled quite possibly his most trite subject yet—skipping school—and churned out a classic. As with all of his films, there’s a hefty amount of heart to be found inFerris Bueller, and while the title character is a fun-loving dude, it’s Cameron and Sloane who carry the hefty thematic weight. Cameron’s struggling with depression and a troubled relationship with his father, while Sloane worries about her future. It’s to Hughes’ credit that he was able to tackle weighty subjects and in the same breath stage a massive dance sequence in the middle of Chicago, and it’s that balance of pure joy and crushing reality that makeFerris Buellerso memorable. The film is the anti-party movie party movie, having its cake and eating it too, and it is delicious. –Adam Chitwood
Anchorman: The Legend of Ron Burgundy (2004)
A film you can quote from end-to-end is a pretty good sign that you’re willing to watch the film endlessly. While Will Ferrell and Adam McKay have shown their strength as a team time and time again, it’s their first feature outing,Anchorman: The Legend of Ron Burgundy, which shines the brightest. It’s a film that’s unafraid to be totally weird, and unlikeAnchorman 2, which is fine but doesn’t hold up on repeat viewings, it knew that a little Brick went a long way.Anchormanwasn’t a huge hit when it was released in 2004, but it found its audience on home video, which isn’t surprising. It’s a film you want to own so you can watch it again and again. –Matt Goldberg
Memento (2000)
Any self-professed fan ofChristopher Nolanwho hasn’t seenMementoat least three times should have their Nolan card revoked. Though it wasn’t his first directorial effort, it was his first feature-length collaboration with younger brotherJonathan Nolan, and a breakthrough film that would open the door for his now-iconic Batman trilogy.Mementoset the tone of what a “Nolan film” would be: tense, smart, expertly plotted, charismatically acted, and meticulously edited.Mementocould arguably be called Nolan’s most clever film to date, though it’ll find strong competition from fans ofInceptionand the scientifically researched script behindInterstellar. But much like how Leonard’s quest to find his wife’s killer feels as if it’s part of an endless, renewing cycle, so doesMementofeel worthy of watching over and over.– Dave Trumbore
The filmmaking team ofEdgar Wright,Simon Pegg, andNick Frostfirst made waves with their TV seriesSpaced, but it was the trio’s 2004 feature filmShaun of the Deadthat made them household names. Indeed, their twist on the zombie movie with a so-called “zomromcom” is a spectacular feat of cinema—a film that is equal parts hilarious, creepy, and moving. But what makesShaun of the Dead(and all of Wright’s films for that matter) so rewatchable is that it is impeccably crafted. Every single camera movement is motivated, every line of dialogue perfectly timed, all adding up to a viewing experience that is a feast for the senses. There’s a reason people return to this film time and time again (especially at Halloween), and Wright and Pegg’s script rewards repeat viewings with various bits of foreshadowing—includinga speech at the pubat the very beginning of the movie that lays out the entire plot of the rest of the film. When so much care is put into crafting such a rich and rewarding viewing experience, it’s no reasonShaun of the Deadhas endured as a new-classic. –Adam Chitwood
The Social Network (2010)
First reactions to news ofThe West WingcreatorAaron Sorkinwriting a movie about Facebook were bursts of laughter. And then whenDavid Finchersigned on to direct, that laughter turned to incredulity. What? Why? How? As it turns out, the duo were on to something;The Social Networkresulted in possibly the defining film about the early 21st century. Sorkin took the invention of Facebook and infused the story with drama of Greek Epic proportions, crafting a tragedy of sorts about power and relationships. It’s a film about outsiders, about feeling undervalued, and about the allure of glory and perceived vindication. It’s also one of the most entertaining films of the 21st century so far. The odd pairing of Sorkin and Fincher proves to be a match made in heaven, as each elevates the other’s best qualities while dampening one another’s worst tendencies. The creative push and pull between Sorkin’s romanticism and Fincher’s pragmatism is almost chemical, and the pure entertainment factor that the two are able to infuse this character-rich story with makes it an endlessly watchable film. –Adam Chitwood
Spirited Away (2001)
Like many ofMiyazakifilms,Spirited Awayis a melty, mind-bending riff on a classic fairy tale, but his gorgeous and deliciously eerie take onAlice in Wonderlandmarks his most compellingly rewatchable. A gorgeous allegory on the beauty and peril of growing up, you’d be hard pressed to find another Miyazaki so beguiling in its world-building. A film elegantly designed to work as well for children as it does for their adult counterparts, thanks to its tendency to puncture the precious with sharp elements of pitch darkness,Spirited Awayis complex, bewitching and just plain gorgeous, but most of all, infinitely revisitable. —Aubrey Page
The Shawshank Redemption (1994)
There’s a solid chance you’ve seen this movie in its entirety, maybe just not in one sitting.Frank Darabont’s classic adaptation of one ofStephen King’s most un-King-like short stories has been in regular rotation on cable TV channels for the last 20 years or so. It’s a solid crime-drama full of fantastic character performances, but the real draw here is the central theme of perseverance in the face of injustice and downright evil.Tim Robbinstakes the weight of Andy Dufresne’s conviction on his shoulders and makes us feel every hour, day, and year leading up to his hard-won escape, but never gives us reason to lose hope along the way. It’s a redemptive tale, as the title promises, and that simply never gets old.– Dave Trumbore
Grosse Pointe Blank (1997)
Everybody has that one movie you’re able to watch a thousand times and never get tired of. For me, that’sGeorge Armitage’sGrosse Pointe Blank. There is no time I won’t watchGrosse Pointe Blank, and if it shows up on TV, well, that’s what I’m doing for the next hour and 47 minutes. It’s a quirky film, specifically crafted as a vehicle forJohn Cusack’s oddball charm (he co-wrote the screenplay withTom Jankiewicz,D.V. DeVincentis, and long-time collaboratorSteve Pink). A romantic comedy/action hybrid with a soundtrack worthy of the team behindHigh Fidelity,Grosse Pointe Blankstars Cusack as a hit man in the midst of a life crisis when a job brings him back to his hometown on the eve of his high school reunion. There, he’s reunited with his first and only love, Debbie (Minnie Driver), who helps him come to grips with owning up to your misdeeds and respecting the value of life. Cusack and Driver have exceptional on-screen chemistry – a peculiar mix between that butterflies-in-the-stomach anticipation and lived-in camaraderie – and their connection carries the film, even in the midst of one excellent action set-piece after the next. Ultimately,Grosse Pointe Blankis a story about second chances and making amends. It’s about dropping your baggage and starting fresh. —Haleigh Foutch
Band of Outsiders (1964)
While many ofGodard’s French New Wave works are so anti-establishment as to be frankly assaulting to watch (see:Masculin Feminin,2 or 3 Things I Know About Her),Band of Outsidersis Godard at his most sentimental. With an aura ofBreathless, his energetic debut, but with emotion rarely seen in his oeuvre,Band of Outsidersis distinct in its rare affection and exuberance. Often heart-wrenching but always liltingly light, the film is rife with the kind of meta-movie love the director does so well, but the presence of relatively complex characters and a comprehensible plot make this the easy go-to for a cheerful French New Wave fix. The fact that the lovelyAnna Karinastars is just a welcome bonus. —Aubrey Page
