New and vintage movies can now be streamed on Redbox Free On Demand, the company’s new streaming service. As with its rental choices (the best of which can be found here), the commercial-driven streamer offers a wide variety—ranging from independent films to horror and action movies that will please hardcore genre enthusiasts. It will be much easier to check out the service now that desktop support has been added (it was mobile-only at launch). As of August 2021, this list is accurate.
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We have a separate list of AVOD (ad-based video on demand) services, which includes a lot of different AVOD providers, but this Redbox streaming list is a great addition if you don’t mind seeing a few ads rather than paying for the rental. And there’s no need to create an account to begin viewing. Redbox Free On Demand is currently available on Roku, iOS, Android phones and TVs, and Vizio devices, with LG, Xbox, Samsung, and Google Chromecast compatibility on the way.
You may also check out our guides to the top movies available on Netflix, Amazon Prime, HBO Max, Hulu, Disney+, Showtime, and Cinemax in addition to Redbox Free On Demand content. See the full list of Paste Movie Guides.
Here are the 10 best movies on Redbox Free On Demand:
1. His Girl Friday
A superb tale and a storyline that doesn’t let up for a second can do so much to astound us that many of us may have forgotten how powerful special effects can be. We return to two of the decade’s most prominent preoccupations with “remarriage humor” and the intrigue and obsessiveness of the newspaper business in this spectacular, dizzyingly fast-paced screwball comedy by Howard Hawk. For as soon as Russell plays ex-husband Lindy Johnson, you know that she is remarrying and abandoning journalism in order to raise her family, and you know that that’s not how it will end. There is no high-suspense mystery here. As a viewer, the most exciting part of this video is learning how you end you there. A large part of His Girl Friday’s hilarious effect comes from the characters’ lightning-fast dialogue, which is superbly performed and shot. Keep your phone at bay while you’re viewing this. In fact, you should make an effort to avoid blinking at all costs. —Amy Glynn, a freelance writer
2. Battle Royale
Battle Royale will very certainly be compared to The Hunger Games films, so it’s okay that you will do so. In fact, you will undoubtedly identify ways in which the lasting achievements of the latter franchise were done so much better by the former. When it comes to making an action star out of nothing, War Royale follows a bunch of kids battling it out for survival on a weapon-strewn island in a government-sanctioned battle to the death. (As the sun sets on the last of the island’s youngsters, notifications are made to the entire island of the day’s dead.) The film’s lack of exposition and reluctance to linger on its symbolism or metaphor leave one in awe of how well Fukasaku (who had a long career behind him when this was made, only three years before his death) was able to give these children nuance and weight, making their deaths matter and their doomed plights sting in the end. To see how the filmmaker manages to make such a tenuous premise (which The Hunger Games takes numerous films to do, and without any lightheartedness) is astounding—plus, he got Beat Takeshi Kitano to portray the President Snow-type character, which Kitano performs to near-perfection. Because of the success of the original Battle Royale in Japan, it’s predicted that Battle Royale II would attempt to raise the stakes even further. However, stick with the original: A game like Battle Royale will make you care more than you otherwise would about children killing each other. Dom Sinacola, a native of the Philippines
Iconic images flood out of Metropolis at a dizzying pace. A treacherous henchman, a robot, a rooftop pursuit, catacombs, and a crazy scientist all feature in Fritz Lang’s science fiction/adventure fable. Metropolis also serves as an excellent reminder of the difficulty of evaluating a work in progress. Silent cinema is often incomplete, even if it isn’t made evident in the theater or on DVD. The outstanding special effects in Lang’s picture have always been well-known — I’m forced by law to use the term “visionary” when discussing it — but until recently, modern viewers had not seen a film that came close to the one that initially opened. When the missing material turned out to be a powerful portrayal of Fritz Rasp’s role as a cold-blooded corporate state spy, it gave Metropolis a new urgency and intensified the film’s social tensions. When we consider that one of the most well-known films of all time contains an undiscovered masterpiece, we have to wonder what more was lost to the nitrate fires. Jeremy Mathews (ph)
There are elements of both horror and dark fantasy in Nightbreed, making it something of an anomaly. Only a few years after Hellraiser, Clive Barker returns to helm a film, but this time, his ambitions may have gotten the better of him. It’s very obvious that he envisioned Nightbreed as a horror epic with a deep message about one’s sense of self, acceptance, and belonging. However, when it comes to execution, it’s unsure about the tone it’s intended to be conveying. It can be darkly amusing at times. It can get downright creepy at times. Other times, you’re unsure if the activity on film is meant to be taken seriously. The art direction, scenery, costumes, and makeup are all fantastic. It’s easy to dismiss some of the character designs as “silly,” yet there are others that will stick with you for years to come. Mixed bag: Nightbreed is a tale about monsters attempting to construct a community where they can live happily, but it lacks the iconic nature of Barker’s most famous characters. —Jim Vorel
5. But I’m a Cheerleader
Having a gay conversion treatment camp as the setting for a love story between two young ladies feels weird in our contemporary climate. Even more so now that we’ve learned of the debilitating psychological consequences those methods may have on those who are sent to be “transformed.” We can all agree that our LGBT+ brothers and sisters were born this way and deserve the same amount of love as everyone else. Even though Megan (Natasha Lyonne) was sent by her parents to be “converted” to heterosexuality, she found love with Graham (Clea DuVall). The two leads’ modest and nuanced performances bring their connection and chemistry to life. Rober Ham, author
6. Killer Klowns From Outer Space
They’ve worked on everything from Critters to Pee-Big Wee’s Adventure as practical effects artists, but to horror aficionados, Stephen, Charles, and Edward Chiodo will always be known as the brothers who brought us the Killer Klowns From Outer Space. As if by a stroke of luck, the titular creatures are aliens and everything about them is connected to clowns. It’s like a circus tent in space. Or the fact that they eat humans like if they were cotton candy. Their floppy shoes and red ball noses may also be to blame. Beautiful coincidences abound. The film is a darkly comedic thriller that never tries to scare anyone—sweet it’s fake-horror fun as ridiculous and bright as the clowns themselves. The Chiodos’ amazing makeup and FX work on a short budget is what makes this film worth seeing today. Clown Magic is used to construct a shadow T-Rex that first entertains, and eventually eats, the onlookers in the “shadow puppets” segment. This is one of the most memorable moments in the film. As said by —Jim Vorel
7. Black Christmas
Bob Clark directed the first true “slasher movie” in Black Christmas, which aired nine years before the now-classic A Christmas Story. In addition to providing TBS with its annual Christmas Eve marathon fodder, he or she was credited for inventing the term “The calls are coming from within the house!” Despite being four years older than John Carpenter’s Halloween, Black Christmas incorporates many of the same visual cues. Even though this film is set in a sorority house, it relies largely on POV shots of its assassin as he stalks his prey in the dark. One can’t help but be reminded of the scene from Carpenter’s film in which Laurie (Jamie Lee Curtis) phones her friend Lynda, only to hear her strangled with the telephone chord. The “final female” slasher cliché was popularized by Black Christmas, and it has become almost archetypal. Finally, we have Jessica Bradford (Olivia Hussey), a strong and resourceful young lady who can take care of herself in both her personal relationships as well as deadly situations. Since then, it’s not clear how many other slashers have been able to achieve the same level of authenticity in their characters. As said by —Jim Vorel
The inclusion of F.W. Murnau’s Dracula riff on this list seems like a waste of time because it has been a staple of the genre for so long. Iconic in terms of its bizarre, dour mood and visual peculiarities, the film introduced much of today’s vampire culture. It’s a once-a-year must-see of the highest quality. Sean Gandert, author.
9. The Proposition
In John Hillcoat’s The Proposition, Hell looks a lot like the Australian outback, if you’ve ever pondered what Hell may look like. The Proposition’s visual aspect is undeniably Australian even before you hear the Aussie accents, thanks to its shifting locations between arid and brutal environments. Rather than the film’s nationality evoking such dread, the relentless brutality does the trick. Thematically, The Proposition is connected to John Ford’s The Man Who Shot Liberty Valance, a film about law-abiding citizens attempting to tame wild territories and civilize unruly people despite all logic being against them. In contrast, Ford’s film never even tries to reach the barbarity of The Proposition’s concluding minutes, where blood is met by blood and violent action can only be stopped by violent response. In the words of Andy Crump:
As the term “cult horror film” implies, “Cube” is just that: a classic. Great concept, enjoyable (but unpolished) execution, a strong sense of underdog heroism, and an unexpected sequel all contribute to the success of this film and its likely sequels. The film’s characters are held in a multi-room jail that is riddled with deadly traps. Is it a cube in the traditional sense? Then again, is that exactly what their captors want them to believe? A bare-bones horror film that incorporates sci-fi aspects into its plot gets its groove when the characters succumb to dread and claustrophobia. Cube is one of those great video store movies that you rent just on the cover alone and come away satisfied because it is tense and scary, with the same type of purposely narrow scope as movies like Saw.