Here are Cinephile Corner’s 10 recommendations for movies like Mountainhead:
The Favourite
The Favourite sees director Yorgos Lanthimos recontextualizing 18th-century British royalty. A searing dark comedy featuring many of 2018s’s best performances, including Olivia Colman, Emma Stone, and Rachel Weisz.
Read our full review of The Favourite
The Banshees of Inisherin
The story in The Banshees of Inisherin is simultaneously laugh-out-loud audacious and deftly potent with real questions on life and legacy. This is essentially Martin McDonagh’s treaties on friendship and what you leave behind once you leave Earth. Colin Farrell is the film’s stand-in for niceness towards those around you, and Brendan Gleeson’s character is a stand-in for tangible contributions to the world (in the film’s case, music). McDonagh constantly tries to unearth what it means to leave behind a legacy, and who will care about us when we die.
Read our full review of The Banshees of Inisherin
Parasite
Every few years, I revisit Parasite and find myself wondering if I’ve been underrating it. It’s a movie that feels so omnipresent in conversations about the best movies of the 21st century that it’s easy to take its greatness for granted. But every rewatch reminds me exactly why Bong Joon-ho’s international juggernaut remains one of the most important films of the last decade—both as a razor-sharp thriller and a scathing critique of class dynamics that continues to feel disturbingly relevant.
Read our full review of Parasite
Downsizing
While Downsizing boasts flashes of brilliance in its performances and premise, its uneven tone, muddled message, and narrative missteps ultimately leave Alexander Payne‘s 2017 satire feeling like a missed opportunity.
Read our full review of Downsizing
Triangle of Sadness
Although it’s visually pleasing and pretty refreshing at its peak moments, Triangle of Sadness doesn’t come together as tight as it should. For many filmmakers, winning a Palme d’Or would be a reason to stay the course for the foreseeable future, but Ruben Östlund keeps audiences guessing. He didn’t hit a home run here, but I can surely admire the effort and vision that he is trying to complete. It probably won’t compete for many awards this upcoming season, but I imagine Östlund will be back for a vengeance.
Read our full review of Triangle of Sadness
Mickey 17
Following up Parasite was never going to be easy for Bong Joon-ho. The 2019 film was a global phenomenon, breaking language barriers at the Academy Awards and cementing Bong as one of the most exciting directors of his generation. With Mickey 17, his first film since that historic win, he dives headfirst into sci-fi, adapting Edward Ashton’s 2022 novel Mickey7 with an all-star cast that includes Robert Pattinson, Naomi Ackie, Steven Yeun, Mark Ruffalo, and Toni Collette.
Read our full review of Mickey 17
Poor Things
At the heart of Poor Things is Emma Stone‘s exceptionally dedicated performance, making a compelling case for her second Oscar for Best Actress. Her willingness to embrace daring characters and collaborate with auteurs like Yorgos Lanthimos reinforces her status as one of the industry’s leading performers.
Read our full review of Poor Things
The Last Duel
Ridley Scott’s The Last Duel is a medieval epic that trades grand battles for something far more harrowing—a Rashomon-style retelling of a brutal assault, where perspective shapes the truth. The film, based on true events, unfolds through three distinct narratives, each offering a different account of the same crime. With a stellar cast led by Matt Damon, Adam Driver, and Jodie Comer, the movie is as much a historical drama as it is a sobering commentary on power, justice, and gender dynamics.
Read our full review of The Last Duel
Anora
Anora is a film that announces Sean Baker as one of cinema’s pinnacle filmmakers. It’s a starry movie that puts you through the ringer and makes you feel just about every emotion possible. It’s grandiose filmmaking at a very high degree of execution. Baker likes to explore similar themes and character types with each of his films, and he’s never been so clear as to why he finds these particular stories so fascinating.
The Social Network
The Social Network might not be a “perfect” movie in a traditional sense, but it’s as close as any film has come in the 21st century. Directed by David Fincher and written by Aaron Sorkin, this 2010 masterpiece remains endlessly rewatchable, endlessly quotable, and deeply resonant in ways that continue to evolve with time. I’ve seen it more than any other movie—memorized its rhythm, its cutting dialogue, its thumping Trent Reznor and Atticus Ross score that pulses through every moment. It’s a film that never loses its edge, no matter how many times you revisit it.