Many great films never get the respect that they fully deserve. Maybe it’s from low box office numbers or shocking criticism, but the only light at the end of the tunnel is the chance to earn cult classic status. When they do find that infamy, then a new story is written, cementing their legacy in a new way.
Though it might seem hard to acknowledge that underperforming movies in the last five years are on their way to cult classic status, there are at least ten worthy films that are well on their way. From films with rising stars to box office bombs that are aging like fine wine, let’s celebrate these newfound cult classics that deserve more love.
‘Bodies Bodies Bodies’ (2022)
The thing about cult classics is that campy films tend to do well when it comes to earning the status; it’s a historic trend that dates back to the classics like The Rocky Horror Picture Show. Picking up the baton and running away as a potential cult classic is the sensational horror comedy Bodies Bodies Bodies. Directed by Halina Reijn and written by Sarah DeLappe from a story by Kristen Roupenian, the brilliantly hilarious film follows a group of friends reuniting at a remote mansion. As they are stranded during a hurricane, they kill time by playing a murder-in-the-dark style party game that results in an actual dead body and a whole lot of lies and deception.
A hyper-stylized comedy, Bodies Bodies Bodies is more than just a silly thriller — it’s filled with a brilliant discussion of class, privilege, and generational culture. Imagine an Agatha Christie mystery with a modern lens, and that’s what this film exudes. With quintessential Gen-Z commentary, Bodies Bodies Bodies hurls you into the politically correct conversations of image and perception while highlighting its toxicity. The claustrophobic setting allows for the breakdown of paranoia, highlighting the obsession with the true killer. Subverting horror tropes and offering a sizzling, cynical climax, Bodies Bodies Bodies is a film that keeps getting better the more it nails society on the head.
‘Bottoms’ (2023)
When it comes to modern queer classics, look no further than Bottoms. Directed by Emma Seligman with a script by Seligman and Rachel Sennott, the hilarious comedy follows two high school seniors, PJ (Sennott) and Josie (Ayo Edebiri), two “untalented gays” who start a fight club as a way to hook up with cheerleaders. Absurd and wildly over-the-top, Bottoms is like if Bring It On and But I’m a Cheerleader had a Gen Z baby.
The subversive, over-the-top camp satirizes classic high school tropes through a raunchy, unapologetic, and irreverent script. With such reverence for teen romcoms of yesteryear, Bottoms can tackle a generation that is proudly questioning its identity and sexuality. Rather than making these characters timid and sexually afraid, they are horny, delusional, and reckless, mirroring the messy, raunchy behavior usually reserved for their male counterparts. Bottoms has already earned a strong following, as Sennott, Edebiri, and Nicholas Galtizine grow into this generation’s biggest names, and we’ll look back on this film and remember when they really went all-in.
‘Argylle’ (2024)
Some might question placing Argylle on this list, but a female-led spy thriller? That’s something to cheer for! The spy action comedy tells the story of Elly Conway (Bryce Dallas Howard), a reclusive author whose best-selling espionage novels about agent Argylle (Henry Cavill) begin to mirror the real-world actions of a sinister spy syndicate. Soon, she is drawn into the dangerous, fast-paced world of espionage when her fictional plots begin to predict actual events.
Even with a twist you may have seen coming, Argylle is the type of movie that simply makes you giddy with excitement. A major factor in the joy of this film is the top-notch cast. In addition to Howard and Cavill, the likes of Sam Rockwell, Dua Lipa, Bryan Cranston, John Cena, and Samuel L. Jackson bring their A-game. Howard is a frightful lead with strong chemistry against Rockwell’s charismatic demeanor. Playing into the stylized spy tropes, the energetic, high-octane action sequences are not only campy clichés but are also executed strongly. Now, there is no doubt it is a CGI catastrophe, but if you enjoy the camp elements, it all works. It may not be everyone’s cup of tea, but for us who love it, we go hard.
‘Late Night with the Devil’ (2023)
In 2023, brothers Colin and Cameron Cairnes changed the horror game with Late Night with the Devil. Filled with elements of analog horror, found footage, and documentary-style direction, the groundbreaking film is slowly creeping into Halloween fans’ annual viewing. In 1977, talk show host Jack Delroy (David Dastmalchian) is desperate for a ratings boost. During a special episode, he interviews a parapsychologist, Dr. June Ross-Mitchell (Laura Gordon), and a young girl, Lilly (Ingrid Torelli), allegedly possessed by a demon. The broadcast descends into chaotic, satanic mayhem where no one truly knows what is actually reality.
From a filmmaking perspective, the brothers’ decision to give the film a completely authentic feel makes the viewing experience feel immersive. With its 4:3 aspect ratio, you genuinely believe you are watching in real time from the ’70s. An intimate story with a psychological-leaning approach, Late Night with the Devil is more of a mind melter than an atmospheric jumpscare revolution; that said, when the scares come, they arrive in full force. Dastmalchian’s portrayal of host Jack Delroy should be in the same conversation as the greats in horror. There’s no one else who could guide the film quite like him, as his demeanor and grasp of the faltering host build all the tension. The waking nightmare vibe that leads into the chaotic climax serves the story so perfectly.
‘Friendship’ (2024)
In the category of uncomfortable comedies, nothing makes your skin crawl quite like Andrew DeYoung’s Friendship. When you have a perfect role for Tim Robinson, you know you’re going to get something spectacular. The dark comedy tells the story of socially inept Craig (Robinson), who attempts to force a friendship with his new neighbor, Austin (Paul Rudd). Instead of a buddy-buddy bond, it results in an absurd, toxic, and disastrous relationship that destroys many lives in the process.
Keying in on the dangers of false relationships, Friendship serves as a cautionary tale about how flawed, real, and imperfect friendship is superior to the superficial, idealized, and socially accepted connections. Since departing Saturday Night Live, Robinson has found his niche, with Friendship serving as a sensational vehicle for his unique acting style. Friendship makes you cringe because it hits close to home; you may not have experienced the extremes quite like these characters, but surface-level relationships have been part of your life. A unique exploration of masculinity, Friendship dives deep into the expectations that make connections seem to thrive on and how one might twist themselves into knots to mold themselves into someone they’re not.
‘Babylon’ (2022)
With an A-list cast dropped into a Hollywood epic, one would think it would be a sure-fire box office smash. Unfortunately, with mid reviews, Babylon didn’t reach the hype. Directed by Damien Chazelle, Babylon chronicles Hollywood’s tumultuous, decadent, and scandal-ridden transition from silent films to “talkies” in the late 1920s. The story centers on Nellie LaRoy (Margot Robbie), an ambitious starlet; Jack Conrad (Brad Pitt), a fading silent film superstar; and Manny Torres (Diego Calva), a young Mexican assistant striving to make it in the industry.
Detailing the extreme, unbridled debauchery and excess of early Hollywood, Babylon is a big, glorious, messy, wild tribute that blends the over-the-top spectacle with the allure of scandal that defined the future of the pictures. Perhaps the biggest reason why Babylon didn’t hit as anticipated was that we had recently been enamored with Quentin Tarantino’s Once Upon a Time in Hollywood. Chazelle’s ambitious project is smartly crafted glitz and glamour that honors the industry so seriously. With a sweeping, spellbinding score by Justin Hurwitz and dazzlingly dizzying cinematography from Linus Sandgren, the film is a love letter to Hollywood that deserves to be a modern masterpiece.
‘Lisa Frankenstein’ (2024)
Perhaps one of the best cinematic portmanteaus is the title of Zelda Williams’ romcom-horror film, Lisa Frankenstein. Set in the neon-lit 1989, the film tells the story of a misunderstood, gothic teenager named Lisa (Kathryn Newton) who reanimates a handsome Victorian-era corpse (Cole Sprouse) using a broken tanning bed. The duo embarks on a murderous journey with hilarious kills to replace the corpse’s missing body parts.
Tackling themes of grief, trauma, and finding love in unexpected places, Lisa Frankenstein is a Tim Burton-esque saga with the flair of your middle school trapperkeeper. Written by the brilliant Diablo Cody, this campy classic is sharp, witty, and visually perfect, creating a neon-goth masterpiece. Williams’ pristine eye and ability to find the literal light through the darkness allow the prominent coming-of-age themes to be subverted. Newton and Sprouse have magnetic chemistry, with the latter offering a stellar physical performance. Further, Liza Soberano’s performance as the perky stepsister, Taffy, is the easy scene-stealer every time she’s on screen. A nostalgic-laden horror comedy, Lisa Frankenstein is a delightful watch that deserves more eyes.
‘Theater Camp’ (2023)
In 2003, theater lovers were given a cult classic in Camp. Twenty years later, a new theater classic arrived, made by the same people who attended Stagedoor Manor. In Molly Gordon and Nick Lieberman‘s Theater Camp, the beloved founder of AdirondACTS, Joan (Amy Sedaris), falls into a coma just before the summer season, leaving her “crypto-bro” son, Troy (Jimmy Tatro), in charge. The eccentric, devoted staff—led by drama instructors Amos (Ben Platt) and Rebecca-Diane (Gordon)—must band together with the kids to save the camp from financial ruin while putting on their annual musical.
A love-letter mockumentary about youth theater, Theater Camp is about the eccentric, misfit kids with a passion for the world of theater. Drawing on their 2020 short film, Gordon and Lieberman deliver an authentic depiction of this unique universe. Using a Christopher Guest-style approach through humor and improv, Theater Camp pays homage to the individuals and genres that inspired them. The cast plays up the camp, with sensational performances from Noah Galvin, Owen Thiele, and a scene-stealing Ayo Edebiri. The film may be a niche concept, but if you adore comedies, you’ll laugh from start to finish.
‘Nightmare Alley’ (2021)
It’s almost unimaginable to think that a Guillermo del Toro film isn’t an instant classic. Perhaps since it wasn’t a monster mash, Nightmare Alley was a tougher sell. That said, what a marvelous film, a masterfully moody, classically-tinged noir thriller about Stanton Carlisle (Bradley Cooper), a manipulative carnival worker who learns the art of mentalism and con-artistry. To boost his career, he teams up with a dangerous psychiatrist (Cate Blanchett) and creates a “ghost act” to trick rich clients, including a dangerous tycoon (Richard Jenkins).
Tapping into the psychological side, del Toro draws on themes of fate, hubris, and the consequences of deception to hold up a dark mirror to the American Dream. Taking the del Toro image to the max, cinematographer Dan Lausten crafts a visually rich aesthetic that’s mystifying and macabre. The film compiles a wonderful list of A-listers who bring their best to evoke the carnival world. Timing was everything, as audiences were particular about what they wanted to see in the theaters. For some, 2021 was their first time back at the cinema, so they went to see Spider-Man: No Way Home. Critically lauded, Nightmare Alley is slowly finding its lost audience; it may not be Frankenstein, but del Toro continues to prove his brilliance behind the camera.
‘Beau is Afraid’ (2023)
The fascinating combination of Joaquin Phoenix and Ari Aster should be enough to entice an audience. Then, toss in the wild plot of Beau is Afraid, and you should have a cinematic marvel; instead, what we got was a box office bomb. In the A24 epic surrealist comedy, Phoenix plays Beau Wasserman, a mild-mannered, deeply anxiety-ridden man. After the sudden death of his mother, he embarks on a Kafkaesque odyssey back home, forced to confront his darkest, irrational fears—ranging from intense urban violence to deep-seated guilt—in a world distorted by his own trauma and his mother’s overbearing, manipulative influence.
A hero’s journey that goes terribly wrong, Beau is Afraid navigates fear, shame, and a realistic hellscape of existence. Aster’s world-building is quite surreal in proportion. Through his audacious approach to depicting crippling anxiety, the deeply personal odyssey blends dark comedy with intense horror that deconstructs conventional narrative norms. Beau is Afraid is an extremely artistic film that young filmmakers are destined to reference in their work. Though it bombed in theaters, it’s likely to soar in its post-cinema afterlife.
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