10 Great Movies Recommended by Jude Law

Jude Law broke out in 1999 with his role in The Talented Mr. Ripley, quickly establishing himself as Hollywood royalty. He’s delivered dozens of great performances since then and looks set to add another with his upcoming neo-nazi thriller The Order. He also happens to be a fantastic source of film recommendations. Like most successful actors, Law is a huge cinephile who has raved about many movies over the years.

In interviews and during his recent trip to the Criterion Closet, Law has gushed about films that inspired him, shaped his approach to acting, or which he simply finds entertaining. They lean toward realistic dramas, fitting with much of the two-time Oscar nominee’s filmography. Law has good taste; many of his recommendations will not only please his audience but are also simply classic films that any cinema fan ought to see.

10 ‘Stalker’ (1979)

Directed by Andrei Tarkovsky

“The Zone reveals the essence of a person.” Directed by the titan of Soviet cinema, Andrei Tarkovsky, Stalker follows three men as they journey into “The Zone,” a mysterious, restricted area where normal laws of reality don’t apply. They are led by the Stalker (Alexander Kaidanovsky), a guide who believes the Zone can grant a person’s deepest desires. The film uses this premise to dive deep into philosophical exploration.

Even nearly 45 years later, Stalker remains a powerful and challenging film, with lots to say about truth and desire. Its thematic richness lends itself to endless interpretation. These ideas are complemented by meditative storytelling, using expensive long shots and haunting landscape cinematography. The sci-fi elements were also influential, finding their way into everything from Chris Marker’s Sans Soleil to Alex Garland‘s Annihilation. “It was my discovery of stillness in film […] That’s a real favorite of mine,” Law said for Criterion.

9 ‘Purple Noon’ (1960)

Directed by René Clément

“I’d rather be a fake somebody than a real nobody.” Long before the movie with Matt Damon or the TV show starring Andrew Scott, there was this French adaptation of Patricia Highsmith‘s novel about the dark Tom Ripley, played by the icon Alain Delon. In this one, the character is tasked with retrieving his wealthy friend Philippe (Maurice Ronet) from a luxurious life abroad. However, Ripley becomes envious of Philippe’s wealth and lifestyle, leading him down a grim path.

Purple Noon is as coldly detached as its lead, with director René Clément keeping viewers on edge throughout. It works thanks to the chemistry between Delon, Ronet, and Marie Laforêt as Philippe’s fiance. “This holds a special place in my heart,” Law said for Criterion. “It demonstrates how this incredible character from this book can be interpreted in so many different ways because it’s very different to The Talented Mr. Ripley that I made with [director Anthony] Minghella.”

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8 ‘The Wages of Fear’ (1953)

Directed by Henri-Georges Clouzot

“When you’re scared, you start seeing things.” The Wages of Fear is an explosive thriller by Henri-Georges Clouzot, the filmmaker behind Les Diaboliques, often referred to as “the French Hitchcock.” It’s about four men hired to transport trucks loaded with nitroglycerin across dangerous mountain roads. They must navigate rough terrain and perilous twists, each bump potentially spelling disaster. It all builds up to a brilliantly tense scene where the drivers attempt to cross a rickety bridge across a deathly drop.

The definition of a nail-biter, The Wages of Fear relentlessly ratchets up the tension both narratively and thematically. The landscape shots and close-ups become oppressive and claustrophobic, accentuating the film’s study of exploited characters in a hellish position. “This is a wonderful film,” Law said for Criterion. “This film is about men in desperate situations who will do anything for money, anything to survive, and they go on the darkest, most dangerous journey, and it’s just brilliant. It’s moving, and it’s incredibly shot.”

7 ‘Local Hero’ (1983)

Directed by Bill Forsyth

“It’s kind of like being in love… but not quite.” Local Hero tells the story of Mac MacIntyre (Peter Riegert), an American oil executive sent to a small Scottish village to negotiate the purchase of land for an oil refinery. However, as he immerses himself in the village’s charm and interacts with the quirky locals, Mac begins questioning his life’s direction and the values he once held. From here, the movie expands into both a comedy-drama and a gentle critique of modernity.

The result is an enjoyable fish-out-of-water story, elevated by layered characters and a low-key storytelling approach from director Bill Forsyth, who also helmed the coming-of-age gem Gregory’s Girl. “This felt very much on my doorstep,” Law said for Criterion. “It felt like a Britain that I knew […] Really moving. And then this incredible performance by Burt Lancaster, who shows up at the end like a knight in shining armor.”

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6 ‘Mona Lisa’ (1986)

Directed by Neil Jordan

“Sometimes, love is a terrible thing.” This gritty British crime drama centers on George (Bob Hoskins), an ex-con who takes a job chauffeuring a high-class call girl named Simone (Cathy Tyson). George unexpectedly becomes infatuated with Simone and is soon drawn into her dangerous underworld, confronting the harsh realities of his new life. From here, Mona Lisa unfolds in terrific neo-noir fashion, balancing thriller elements with emotional moments and painting a vivid picture of London’s seedy underbelly.

The movie was widely acclaimed on release, with Hoskin receiving his only Oscar nomination for his efforts. “At a very formative time in my life, it showed a side of London that I saw and felt around me but hadn’t necessarily seen on film,” Law said for Criterion. “And Bob Hoskins demonstrating his brilliant ability to be incredibly tough, plausibly real, of the street, and yet with this incredible heart of gold, which was kind of Bob himself.”

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5 ‘The Night of the Hunter’ (1955)

Directed by Charles Laughton

“Children, you’re going to need me.” This noir classic, the sole directorial effort by actor Charles Laughton, follows Harry Powell (Robert Mitchum), a charismatic yet sinister preacher who pursues two children to obtain their late father’s hidden fortune. Laughton’s film combines fairy-tale elements with suspense, creating a uniquely eerie atmosphere. The highlight, however, is the chilling, towering performance from Mitchum. It’s an iconic villain performance, from his menacing charm to the “LOVE” and “HATE” tattooed on his knuckles.

The Night of the Hunter was mostly panned when it came out but is now rightly viewed as a classic. “One of my favorite films,” Law revealed for Criterion. “This film has really stuck with me since it being shown it by my mum when I was very young, maybe 12 or 13. It’s a fable, a terrifying nursery rhyme that literally, by the end, sort of dips into the fantasy of a child where you get these macro images of lizards and spiders. The most incredible performance by Robert Mitchum.”

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4 ‘Videodrome’ (1983)

Directed by David Cronenberg

“Long live the new flesh.” Law has praised body horror master David Cronenberg‘s entire filmography, including the cult classic Videodrome. James Woods leads the cast as Max Renn, a sleazy television executive who stumbles upon a mysterious broadcast that shows disturbing scenes of torture and violence. Max discovers that the broadcast has a hypnotic effect, leading to physical and psychological changes.

The movie explores the effects of media on the mind and body, becoming a hallucinogenic journey that blurs reality and fantasy, a staple of Cronenberg’s storytelling. If anything, these ideas have only become more relevant in the decades since. “[Croneberg’s] films are so rooted in a world unlike anyone else’s, with so many unique animals and toys and realities,” Law said. “Within David’s films, there are these creatures and objects that are as important as the characters.” Law and Cronenberg would go on to collaborate on the 1999 eXistenZ.

3 ‘My Beautiful Laundrette’ (1985)

Directed by Stephen Frears

“There’s no rules, Omar. Just taste.” My Beautiful Laundrette, an early work by director Stephen Frears (The Queen, Philomena), focuses on the unlikely relationship between Omar (Gordon Warnecke), a young Pakistani man, and Johnny (Daniel Day-Lewis), his former bully and a gang member, in Thatcher-era London. The film tackles issues of race, sexuality, and economic struggles, weaving social commentary into a personal story of love and ambition.

Frears’s direction is fittingly gritty and realistic, complementing the fantastic lead performances (including a breakout turn for Day-Lewis). The resulting movie is both smart and full of heart, mostly thanks to the sensitive, intelligent screenplay, which received an Oscar nod. “Here was a film about people I knew,” Law said for Deadline. “And it was done so plausibly, and it chimed with me because I suddenly realized that cinematic storytelling could also be something on your doorstep as opposed to something other, something beyond your dreams.”

2 ‘Dead Man Walking’ (1995)

Directed by Tim Robbins

“I want the last thing you see in this world to be a face of love.” Dead Man Walking is based on the true story of Sister Helen Prejean (Susan Sarandon), who becomes the spiritual advisor to a death row inmate, Matthew Poncelet (Sean Penn). Sister Helen advocates for Matthew despite the hatred the town feels for him, and the film uses their relationship as a vehicle to examine forgiveness, justice, and redemption. It’s a fine directorial effort Oscar winner from Tim Robbins.

Sarandon’s compassionate, Oscar-winning portrayal of Sister Helen contrasts with Penn’s chilling yet ultimately humanizing performance, substantially elevating the film. Indeed, it ranks among Penn’s very next best work. Law has cited Penn’s performance here as a major inspiration in his career. “[Penn] seemed to always do something that took you away from trying to realize who they were and realize the potential of losing yourself in a part,” he explained for Deadline.

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1 ‘Bicycle Thieves’ (1948)

Directed by Vittorio De Sica

“You live and suffer, that’s life.” An Italian post-war classic, Bicycle Thieves follows Antonio, a poor man in Rome who, along with his young son, searches for his stolen bicycle—the key to his livelihood. The film captures the hardship and dignity of working-class life in the 1940s, using a simple premise to make a broader statement on society in the wake of World War II. These ideas are firmly rooted in a particular time and place but resonate universally.

At its core, Bicycle Thieves speaks to human resilience, serving up an emotional gut punch of a story. Not for nothing, it is generally ranked among the defining works of Italian neorealism. Countless directors have cited it as an inspiration, from Satyajit Ray to Ken Loach. For Deadline, Law mentioned it as one of the notable films that his mom took him to see when he was a kid, suggesting that his parents provided him with a great cinematic education.

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