This year’s film award circuit—including the Oscars, the BAFTAs, and the Critics’ Choice Awards, among others—gave us the chance to honor a diverse collection of works deserving of critical acclaim. However, while many of these movies are incredibly deserving of the praise that they have received, they aren’t the only films worthy of our attention. Hollywood releases hundreds of phenomenal works each year, many of which are regrettably eclipsed by big-budget blockbusters and critic favorites.

It can be easy to lose track of these hidden gems in the ceaseless flood of on-screen entertainment. Below are some of the movies we think deserve more recognition in the film world, ranging from historical drama to sci-fi thriller and beyond. If you haven’t yet, we hope you’ll give them a chance. Who knows—maybe you’ll even find your new underrated favorite.

Don Bluth and Gary Goldman’s Anastasia (1997)

Katie Rish

The movie Anastasia was made in 1997 and written by Don Bluth and Gary Goldman. The film is a magical retelling of the youngest Romanov’s story. Anastasia was the youngest daughter of Tsar Nicholas II during the last leg of the royal rule in Russia. During the communist revolution, the Romanov family was captured and killed—even the children. While the movie is a take on Anastasia's unfortunate death, the creators use the rumor that Anastasia survived to create a whole new aspect to her story. 

The film tells the story of Anastasia, who escaped the Russian Revolution at the palace but in the process lost her family. Anastasia is separated from her grandmother in the chaos and is left in Russia, orphaned and alone. Many years later, Anastasia's grandmother, the Dowager Empress, has begun to look for the missing princess again, putting out a hefty reward for the person who finds her. Two con men named Dimitri and Vladimir find a young orphan girl named Anya who has a striking resemblance to Anastasia. Dimitri convinces Anya to travel to Paris with them to meet the Dowager Empress and possibly find her family. However, a man named Rasputin has sworn to end the Romanov family line and is reawakened when the news of Anastasia's return circulates to him. The story follows the main three on their journey to Paris and Anya's realization of who she really is, with the looming threat of Rasputin's wrath ahead. 

Anastasia is one of my favorite animated movies ever. The soundtrack, hand-drawn animation, and overall story complete the film and make it so dynamic. It is the perfect wintertime movie with the beautiful depiction of snow in St. Petersburg and my favorite song, “Once Upon A December.” Anastasia is definitely not hated by the public, it’s just severely underrated and forgotten, as it was a 20th Century Fox film that was shelved and stuck on Disney+. The film uses aspects of the truth to tell a fantastical tale where Anastasia earns her happy ending with her family and that is what makes the film so appealing. The creators base their film off of a real Romanov daughter and are able to adapt the story to make it a gorgeous and happy animated film. Anastasia was released 28 years ago and I think it's about time it gets the popularity it deserves. 

Aaron Sorkin’s The Trial of the Chicago 7 (2020)

Lili Temper, Media & Communications Manager

Argo, Braveheart, Darkest Hour, Schindler’s List, and All the President’s Men—these are all Academy Award-winning historical films showcasing the heroism or the horrors witnessed by generations past. Though it did receive other, less prominent awards upon its release, The Trial of the Chicago 7 is a film largely forgotten in comparison with its more-acclaimed peers. Despite possessing decently high scores on Rotten Tomatoes and Metacritic, it is also somewhat divisive among viewers, because some believe—much to my disappointment—that it is “bloated with exaggerated dialogue” or “lacking in subtlety.” Still, it is one of my favorites because it sheds light on a fascinating and increasingly relevant era of American history while also providing meaningful commentary on morality and justice. 

The film, which was written and directed by The Social Network’s Aaron Sorkin, tells the tale of the infamous “Chicago 7,” a group of anti-Vietnam War activists who were tried for organizing large-scale protests at the 1968 Democratic National Convention in Chicago. What makes the film remarkable is Sorkin’s decision to weave real archival footage into the storyline, which paints an engaging yet strikingly realistic picture of the anti-war movement of the 60s.

The Trial of the Chicago 7 also boasts outstanding performances delivered by a stellar cast, including Eddie Redmayne as Tom Hayden of Students for a Democratic Society (SDS), Mark Rylance as defense attorney William Kunstler, and Sacha Baron Cohen and Jeremy Strong as Abbie Hoffman and Jerry Rubin, two of the five founding members of the Youth International Party (Yippies). Joseph Gordon-Levitt and Michael Keaton are also featured in supporting roles.

While it’s true that my fascination with the anti-war and counterculture movements of the 60s and 70s may cause me to be biased in favor of the film’s content, I do also firmly believe that The Trial of the Chicago 7 is a very high-quality film that deserves far more praise than it has received. Sorkin, whose previous writing credits include political drama The West Wing and historical thriller A Few Good Men, has proven himself again and again to be a master of the gripping political drama, and his work on the Trial of the Chicago 7 simply solidifies his standing. If you’re a fan of history or historical media, I urge you to give this movie a chance. You might even learn something along the way.

Ron Howard’s Solo: A Star Wars Story (2018)

Charlie Couture

Solo: A Star Wars Story is a very underrated film. Disney hardly even touched this film because it wasn’t much of a major Star Wars film that they wanted to adjust and change so it can make a billion dollars. It tells the story of a young Han Solo and how he became the smuggler we know him to be.

It tells a more grounded story about Han Solo and who he was and what he did before the events of the original trilogy. It shows how he meets his famous furry companion, Chewbacca, and his other friend Lando Calrisean. The story is good; it doesn’t really delve deep into the Jedi, nor the Sith, and the force is not at all used. The music isn’t done by John Williams—instead, it was composed by John Powell, who was most famous for composing the musical score for the How To Train Your Dragon trilogy. Actors Alden Ehrenreich and Donald Glover do a good job of playing a young Han Solo and Lando Calresean. Each of them capture the spirit of the original characters once played by Harrison Ford and Billy Dee Williams. It’s nice to tell more grounded Star Wars stories that hardly tap into the larger galaxy and stay within its roots. Overall, it is a solid Star Wars film and tells an original story instead of being a corporate nostalgia fest. It’s nice to see these storytellers be able to tell the story that they want to tell.

Nick Cassavetes’ My Sister’s Keeper (2009)

Angela Mukigi

My Sister’s Keeper was directed by Nick Cassavetes, the same person who worked on The Notebook. The main character, Anna Fitzgerald, is 11 years old and has an older sister Kate who has battled cancer since she was two. Their mother Sara has always done everything to keep Kate alive and even quit her job to focus on her full-time. Doctors believed she wouldn’t make it past five. By an off-record recommendation, Sara decided to have another child, Anna, who could donate things like compatible blood and bone marrow to help Kate. The problem is, now that Anna is older, she doesn’t want to go through the operations that can keep her hospitalized for up to a week.

The movie changes who narrates the story at different points, giving viewers multiple perspectives. On the mother’s side, she believes Anna is being selfish by not wanting to do a kidney transplant for her sister. Anna is scared of the possible complications and of the fact that she will have to live the rest of her life carefully due to having one kidney. Their father believes it is up to Anna but their controlling mother wants to force her into the operation. As a last resort, Anna saves up money to hire a lawyer who will fight for her “medical emancipation.”

At the heart of the movie is a message about ethics. Is it Anna’s duty to give up her kidney even though it’ll affect the rest of her life, and Kate will still pass away young? Is she even old enough to make that decision? The film can also be interpreted to have the ‘right to live’ argument theme which is debated in society and in other films such as Me Before You. 

This movie is made in a way that provokes thought about a wide range of topics such as medical questions; was it unethical for her parents to have her only as a donor child for her sister? It also explores the boundaries of parental controls. The family is described as “a little dysfunctional” by Anna, and, through the inner monologues of the characters, we can gain sympathy for each member’s perspectives, and even their shortcomings. 

Denis Villeneuve’s Arrival (2016)

Max Cogliano

After finishing Arrival, directed by Denis Villenueve, it's no wonder why he has been dubbed the “Prodigal Son of Sci-Fi.” Arrival is only one among Villenueve’s slew of sci-fi masterworks, the likes of which include Dune, Dune: Part Two, and Blade Runner: 2049. However, unlike Dune’s far-future politics and religion or Blade Runner’s cyberpunk transhumanism, Arrival is far smaller in scope. The film about extraterrestrial aliens and spaceships manages to be ironically down to earth. 

Instead of his better known films, full of spectacle and action, Arrival puts the emphasis on its character and plot. This may mean it's not a movie for everyone, at times it can be very technical and heavy, but the payoff is immense. From the relatively “small” budget of $47 million, Villenueve is able to deliver something sleek, minimalist, and modern. Despites its minimalism, the film still manages to bear the mark of Villenueve’s characteristically beautiful cinematography and uses it to great effect. The movie is full of brilliant visual cues and homages that make it worthy of multiple watches. 

As for the story itself, Arrival follows Louise Banks (Amy Adams), a linguistics professor, and astrophysicist Ian Donnelly (Jeremy Renner) as they attempt to communicate with one of twelve alien vessels that have mysteriously appeared on earth. The movie details a process of trial and error, as Louise learns the aliens’ language and, ultimately, their purpose on earth. Naturally, language becomes a prime subject for the film: how the aliens communicate as well as ourselves. Though the pair may initially be concerned with the aliens’ purpose on earth, for Louise, the experience quickly becomes a reevaluation of her own. Very little is explained, instead the audience is piecemealed information across a nonlinear sequence of events, eventually culminating in the grand twist. It takes a classic premise of aliens coming to earth and is able to flip it on its head. Despite its apparent complexity, Arrival’s visuals brilliantly communicate information and give the film clarity. 

Despite a number of Academy Award nominations, including Best Picture, and critical acclaim, Arrival slipped largely under the radar. That might be because it was overshadowed by larger films of the same year or because its plot requires more investment than usual, but if one is willing to commit they will find a film that is truly alien in how intensely unfamiliar and new it is. Arrival is existential, intelligent, and at other times bleak and political, all the while being cohesive and well-acted. Arrival won’t be for everyone, but for those who embrace its slow-burn style, they’ll find something lingering long after the credits. It thrives on quiet brilliance and proves Villenueve isn’t just a master of sci-fi, but of storytelling itself.