The 15 best films coming to Prime Video in March

It’s hard to believe, but 1997’s just celebrated its 25th birthday. Yet it never seems to get old. The Oscar-winning writing pair of Matt Damon and Ben Affleck star in this tale of rough-around-the-edges Boston guys Will (Damon) and Chuckie (Affleck), well on their way to dead-end jobs and alcoholic futures. Although Will is actually ridiculously intelligent, he hides it for the sake of his rough-and-tumble image and neighborhood.One night while making his janitorial rounds at MIT, Will decides to solve a seemingly impossible math equation in the classroom of the school’s most difficult math teacher, Gerald Lambeau (played by Stellan Skarsgård). Lambeau tries to help him reach his potential by arranging for him attempt to reach heights never before dreamed. But before they can get there, Will gets in some trouble and his traumatic, violent past emerges, earning him therapy sessions with Sean Maguire (Robin Williams, who earned his Academy Award here, as did Minnie Driver). The emotional rollercoaster, directed by Gus Van Sant, was a massive success both critically and at the box office. Bring the tissues for this one—both for the story and for remembering the loss of the wonderful Williams.

is a sneaky little gem from 1993 that you might have missed. It’s written and directed by Steve Kloves, before he decided to stick to screenwriting and hit it big with a terrific run of Harry Potter films and 2012’s somewhat unfairly maligned The Amazing Spider-Man. The film follows Arliss Sweeney (Dennis Quaid), a troubled, traumatized drifter (aren’t they all?) who makes a living selling used cars in the Southwest. He soon meets the lovely Kay (Meg Ryan) and, after bailing her out of a bad relationship, the two hit the road for some grifts and petty thieving. That’s where they meet fellow ne’er-do-well Ginnie, played by Gwyneth Paltrow in pretty much her first big movie role—and possibly one of her best. Flesh And Bone is a solid meditation on the recurring cycle of trauma and abuse, with a dusty, noir feel to it.

Stanley Kubrick directed Kirk Douglas in 1957’s , not only one of the greatest war films ever made, but a top-tier Kubrick entry. Based on Humphrey Cobb’s novel of the same name, the World War I tale centers on a group of French soldiers carrying out an impossible mission against an embedded and heavily armed German troop. After the mission fails, three of the soldiers are scapegoated for the failure and deemed to die at the hands of a firing squad. Colonel Dax (Douglas), the man in charge of this death wish mission, is chosen to defend his soldiers at their trial. He soon discovers the outright tragedy and unfairness of war and hypocrisy and corruption of the military establishment. Douglas is outstanding here, and the work by Kubrick as he follows Dax through realistic trenches and foxholes is teeth-chatteringly intense. Not to be forgotten is Wayne Morris as Lieutenant Morris, a real creep whose self-serving nature mirrors that of the military and is at the root of the impending trial. Paths Of Glory is an all-timer.

Sophia Coppola’s romantic drama , starring Bill Murray and Scarlett Johansson, is the kind of movie you either get or you don’t. And that’s fine. It’s a mainstream art film that took the cinematic world by storm in 2003 for numerous reasons: it sprang from the mind of a notable female writer-director, Bill Murray got to drill down on his “sad sack” chops, and the world at large got to meet Scarlett Johansson. It follows the story of Bob (Murray), a formerly popular American movie star, who travels to Tokyo to film a commercial for a whiskey company. He is staying at a luxurious hotel, where he is unable to sleep. In the same hotel, Charlotte (Johansson), a young woman accompanying her photographer husband (Giovanni Ribisi), is also feeling lonely and disconnected from her surroundings. She also can’t sleep. Bob and Charlotte start to run into each other and form an unlikely friendship. They spend their days exploring Tokyo and experiencing the culture shock, and their nights talking and drinking together. Does anything happen in Lost In Translation? Yes and no. It’s all about what you take away from the experience—and an experience is exactly what this film is.

Back in 1999, one of the oddest mainstream miracle films happened upon the world with . Renowned music video and commercial director Spike Jonze made the leap to the big screen with the feature film debut of the weird and brilliant Charlie Kaufman. What makes Being John Malkovich so great is that’s it’s smart, funny, and absolutely shouldn’t work on any level. But it does. The plot revolves around Craig Schwartz (John Cusack), a puppeteer who discovers a portal that leads directly into the mind of the actor John Malkovich (playing himself!). With the help of his friend and co-puppeteer, Maxine (Catherine Keener), and his wife, Lotte (Cameron Diaz), Craig figures this could be a money-making operation, allowing people to pay a fee to enter the mind of John Malkovich. Once inside Malkovich’s mind, the person can only stay for 15 minutes before being ejected onto the side of the New Jersey Turnpike. From there, things get even more surrealistic and hilarious as Malkovich is everywhere … literally. What a joyously trippy film.

You know who’s been sadly passed over as the internet and world at large hurdle forward, barely hesitating to look back in a never-ending search for what’s next? The Marx Brothers. 1933’s is a great example of an excellent comedy featuring the glorious original incarnation of the Brothers Marx with Groucho, Chico, Harpo, and Zeppo. Much like any great team, as time went on, new members came and went, but this was the original group.Duck Soup is the crown jewel of the Marx Brothers’ outrageous brand of fast-talking slapstick comedy that remains steadfastly funny and clever nearly 100 years later. What’s the plot, you ask? It’s rather beside the point, but it revolves around Groucho being appointed the leader of the fictional, bankrupt country of Freedonia, which is in a battle with neighboring country Sylvania. Sylvania has the good fortune of not being bankrupt due to a wealthy businesswoman who’s propping it up. Look, again, the plot doesn’t really matter; Duck Soup is a wild and wonderful 68-minute gem that will leave everyone laughing. Also, where is the much overdue Marx Brothers revival?

Now that all-time great Jamie Lee Curtis has a supporting Oscar nod for her zany turn in this year’s Everything Everywhere All At Once, there’s no better time to revisit , one of her earliest comedic breakout roles as the titular character (who, sadly, is not a fish). Written by star John Cleese, the film is an homage to classic grifter comedies like The Ladykillers (1956) and Ocean’s Eleven (1960): group of hustlers looking to swindle someone soon finds they’re all pitted against one another. In the case of A Fish Called Wanda, we meet a British gang consisting of George (Tom Georgeson), Ken (Michael Palin), and Wanda (Jamie Lee Curtis), who hook up with an American conman named Otto (an Oscar-winning Kevin Kline) to pull off a diamond heist. The Charles Crichton-directed film is pure slapstick, allowing the audience to enjoy likable, bad people doing crazy things that ultimately hurt their bottom line. A Fish Called Wanda is a hoot.

The late, great John Cassavetes made an indelible mark on cinema with films featuring ordinary people in very normal, personal situations. While his films always have a shaggy, off-the-cuff feel, a key to his greatness was his group of pals who also happened to be outstanding actors. Case in point: 1971’s , starring Cassavetes’ wife and muse Gena Rowlands as Minnie Moore and Seymour Cassel as Seymour Moskowitz. Minnie is a bit of a flaky free spirit who works at an art museum, where she meets parking attendant Seymour. Audiences experience two people trying to sift through the tricky miasma of adulthood and all of its existential promises, failures, and successes; it proves thrilling to watch two dissatisfied people attempt to find love and compassion in the wreckage of unfulfilled middle-aged life. Yet by the end, Minnie And Moskowitz leaves you with a feeling of hope and poignancy, which speaks to the greatness of Cassavetes and his directorial career.