The 22 Best Free Films You Can Watch On YouTube, Do Checkout

Courtesy: Paste Magazine

YouTube offers a happy return to the basics and a business familiar to all those who still remember to wander through the Channels in a world of competitive streaming opportunities and mounting monthly subscription fees: Set up a couple of advertisements, and some great movies will be given free to you. 

It is a lot, and their choice has only improved. Over 300 films, most of these old favorites, culte classics and famous hits, are loaded into our free library. There was never a better time to broaden your horizons or to get a little familiar and comfortable.

But no catching is that there is. Although people have often found some way of downloading content illegally on Youtube, this set of films are entirely legally funded and completely free of charge by YouTube itself. Take a dip and have a great time. More are being added all the time, for now look at 22 of YouTube’s best free films.


The enthusiasm was palpable in the last few years of the 1920s as talented filmmakers pressed to unlock the entire potential of the medium. From this desire, Sunrise was born, as Fox brought German genius F.W. Murnau to Hollywood, where he and his cameramen used all available resources to make some of the most magnificent images of celluloid ever produced. 

Murnau’s camera flies over countryside, gets caught in a city bush and sees a desperate storm on a lake, whilst its performers, George O’Brien and Janet Gaynor, shine with authenticity. Telling a tale about a husband who strays and then attempts to get back on boards.

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Our Hospitality

Buster Keaton never was one of those who wanted to observe absurd human behaviour, for a great social comment. So he didn’t have trouble making Our Hospitality over a family feud which spans generations and has a southern hospitality code head-to-head. That code is that if Keaton’s character stumbles unknowingly into his enemy’s homes, he cannot leave while he is a guest at his house, you can’t injure anyone. Keaton has a wonderful time trying to escape and his safe zone inside the house is when things go wrong.

The funniest time is the supper prayer, at which everyone else watches, not praying. A sequence of river chases, including a stun murderer, bringing things to a flawless climax. And not even mentioning Stephenson’s Rocket’s first act, which transports our hero from New York City on a historicly correct, ridiculously puny train. On January 1, this film also entered the public domain.

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The General

When Yankee spies steal his locomotive and abduct her boyfriend, a southern railway engineer (Buster Keaton, “The Great Stone Face”) is obliged to chase his two loved ones across the lines of an adversary. Although a few pictures of Charlie Chaplin give it a chance for money, The General is probably the finest silent comedy ever made—if not the best comedy ever made. The film did not achieve critical or box-office success at the peak of Buster Keaton’s acclaimed career, but was extremely old. It is a spectacle of narrative, romantic, adventurous, action (chases, fires, explosions), comedy into a silent masterpiece without any problems.

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Safety Last

Rodney Sauer of the Mont Alto Motion Picture Orchestra told me after the San Francisco Silent Film Festival accompanied Safety Last “I shouldn’t have bothered to score the last 15 minutes.” During the renowned building-scaling series of Harold Lloyd, he said he and his ensemble couldn’t even hear themselves about the uproar laughs at the Castro theatre. It is a perfect combination of suspense and comedy with its famous clock-hanging finale, which doesn’t matter much that the rest of the movie feels just like a prelude. This film recently came into the public domain.

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The majestic riff of F.W. Murnau on Dracula is an image of this genre since so long that it seems like a waste of time to justify its place on this list. Splendid in its freakish mood and visual eccentricities, the film has devised a large amount of contemporary vampire lore, as we know it. It is the most rewarding thing that must be seen once a year.

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Steamboat Bill, Jr.

The climatic cyclone of Steamboat Bill, Jr. – which is great action and great comedy all at once – would achieve a prized place in the canon of an amazing silent film. The iconic shot of the façade of a house falling over Keaton is just one of many great moments in the flowing sequence. But Steamboat Bill, Jr. also highlights some of Keaton’s wonderful honesty as just an actor, including a sequence his father attempts to find a much more manly hat, or an attempt to sniff a prison break plan.

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The Navigator

For every possible bag, the Navigator mines an ocean liner. Keaton plays a clueless, rich young man, stuck on a vast, adrifying ship with the clueless, wealthy young woman who dismissed her as his only business. These two spoiled top-class thugs do not know how to open canned food, let alone manage a ship, and must hilariously improvise stuff. The scene, in the classic Keaton way, in the scene where each of the two characters has a suspicion of someone else but can’t found someone else: with perfectly timed broad shots, it is more credible that the two still lack each other. When the protagonists l, the greatest time can be a spooky night.

The scene, in the classic Keaton way, in the scene where each of the two characters has a suspicion of someone else but can’t found someone else: with perfectly timed broad shots, it is more credible that the two still lack each other. A spooky night will be the best time when people give the boat’s creepiness the best.

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The Scarecrow

Buster Keaton has two-wheelers with more ambitious special effects, more epic stunts and more complex chase scenes, but none of them are laughed more than The Scarecrow in my experience. The movie never stops breathing as it goes from place to place and always sets up and rewards new laughter. In the finest of moments are an ingeniously built 1-room home, a look of Luke, Joe Robert, Keaton’s father and some very divine knockabout. 

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The Kid

The kid tells the storey of an abandoned child and the life it develops with The Little Tramp, Charlie Chaplin’s first full-length movie and a top accomplishment. In comparison to his previous work, Chaplin opposed strong studio opposition to making a more serious film. Nevertheless, The Kid features as much mood as his earlier shorts, albeit put in a wider and more dramatic environment. 

Night of the Living Dead

It is not really appropriate to examine how influential the first Zombie-Film by George Romero was in the genre, and how horrific the film was itself. It’s one of the biggest horror-Films ever created. The answer is “Okay, how is it today?” The question is more precise. Unlike Dawn of the Dead, Night is relatively quiet most of the time (not on Shudder). The narrative conventions are classical and the films in Black and White still look superb, but some of the performances, especially that of Judith O’Dea as Barbara, are absolutely annoying.

However, in a tale that is highly autonomous and provincial – just one small group in a home that has no real thinking of the wider world – Duane Jones does more than make for that like heroic Ben. It’s a horror movie that every student of the genre needs to see, which is convenient because the movie is still in the public domain. But Romero will perfect the genre in the next few attempts with regard to entertainment value. The 1990 rework of this film made unfairly by Tom Savini because he was faithful to its source. The revision was also proposed. “

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The Last Man on Earth

It proved notoriously hard for Richard Matheson’s I Am Legend to adapt while maintaining any of his thoughts intact, but this is the arguably best overall picture compared to the later Omega Man, or I Am Legend, with Will Smith in 2007. Some people called it the best movie of Vincent Price with beautifully Gothic scenarios in Rome, where the last human man on earth fought the “infected,” who took on the traits of traditional vampires.

The company does not commit itself entirely to reversing the protagonist/anti-agonist of the source material, but uses Price’s magnetic screen and monologue presence. Nobody sees a Vincent Price movie and says “I wish there were fewer in it” and The Last Man on Earth gives the actor a showcase at its height. Living Dead Director George Romero said the modern zombie would never have been invented without the Last Man on Earth.

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The Lady Vanishes

Quite before all trope, the Lady is both hilariously dated and an initial of how to create a nearly perfect thriller from a genre that derives its name from keeping the audience keyed up. Far beyond the first hype to Hitchcock, a near-mary, Iris (Margaret Lockwood), is followed in the film and twists himself in the mystery situation of his disappearance on a packed train. The movie follows a wife who is about to be married.

No shot in the movie is foreign, no dialogue is ineffective—even the supporters, who serve a small part, besides lending complexity to Iris’ pursuit of the truth, are essential for creation of the tension to make this lady’s vanishing trustworthy. The film shows how Hitchcock shaved every movie up to its most empirical components even in 1938, and was prepared to produce some of the most important genre photographs from the 1950s.

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Sita Sings the Blues

For her maker, artist and animator, Nina Paley, Sita Sings the Blues is a study of cinematic obsession. This film, animated entirely by a woman determined to wrap the account with her own life with both the millennial Hindu mythical cycle Ramayana after she noticed the parallels between her own stories and that of the Heroin Sita. This film is made up of four distinctly different types of animation and narration.

A meditation on relationships and duties is also directed to Annette Henshaw’s jazz vocals in the 1920s, whose songs are merely a soundtrack for videos with animated music. It is a gorgeous, unbelievable and fantastic film, hilarious and sobering as a technical accomplishment, in equal measure. This is one of a single person’s most stunning animated features.

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Miami Connection 

This isn’t an official YouTube offer, but I love it entirely and have found a link to see it freely. It’s on Amazon Prime as well.

In the classical sense, Miami Connection is not a good film. It’s such a bad-it’s-good film that is crazy to watch. What you see and hear, you can’t reckon.

In Orlando, the film focuses on a group of friends who practise taekwondo by the day and play cheesy 80’s synth rock by night, despite calling it an MIAMI Connection. Their band is called Dragon Sound. Most of them chant eternal friendship and ninjas. You know, hardcore stuff. Hardcore.

In some ways, when they are engaged for a drug club dealing with ninjas and bicycle gangs, they are both pissed off and fight for their lives. 

In the Amazon Prime edition of Rifftrax, you may also watch an additional crew rip the movie from the Mystery Science Theater 3000. I am embedding the following highlights 


Courtesy: KTEM NewsRadio 14

Slakcer follows about a young and unambitious, from eagerly excentric to dangerously apathic, are an Eden of ustin, Texas. The nobly lazy people here are able to avoid obligation to nurture their esoteric obsessions. 

The residents of the village include a philosopher from backseat (Richard Linklater), who expounder a young lady who wants to test Madonna’s Pap to someone who listens, and who looks for reclutters, an old anarchist, passionately in his dreams.

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