In no particular order. The reviews are from Netflix, but the first four (the ones in blue) I wrote myself.
Man in the Moon (Reece Witherspoon)
Wow! is all I can say. This movie caught me completely by surprise. Where was I when it was originally released? Where were the Academy Members? Did they have their head in the sand? Need I say more than this movie was directed by Robert Mulligan of "To Kill A Mockingbird" fame. This is a poignant story of young love, and family, and sisters. Reece Witherspoon, in her debut role, played the central character, a 14 year old in love with the same boy as her sister, and she blew me away with the depth of her acting. But the story has many more layers, with two parents who aren't perfect but have just the right touch with their kids. All the actors did a wonderful job of weaving a story that will pull at your heartstrings, and leave you wanting for more.
The American President (Michael Douglas)
Some reviewers who moan that this is a liberal propaganda movie have missed the point, plain and simple. This is a story of romance in the White House, a unique theme which is a new and fresh idea. (Note that "Dave", another excellent movie bashed by conservatives with blinders on, was not a true President-in-love theme.) The politics were a backdrop and used to keep the movie moving. I am a conservative and didn't feel "preached to" or offended by the good-guy/bad-guy slant to the politics. It was a bit of a satire about Washington politics, but the story was about the problems Douglas's and Benning's characters had in developing a relationship. Benning and Douglas had great chemistry and MJ Fox did a wonderful job at playing the over-the-top advisor/speechwriter who constantly had to be reigned in from his ultra-liberal ideas. This is an enjoyable movie, well done, cleverly scripted, well-acted, and fast paced. If your politics gets in the way of you enjoying this movie you are just an ole fuddy duddy 
.
Price Above Rubies (Renee Zelweger)
This is one of those movies that you either get in synch with from the beginning or you don’t. If you don’t get involved with what the director/writer/actors are trying to show you, you’ll hate this movie. This movie is not for light viewing or entertainment, but tries to provide the viewer with cultural insight and a message. The question is not how she could leave her baby, for she had no choice. It was where did she get the strength to do what she did, and maintain some measure of dignity and self-respect. It shows the viewer inside the oppressive, male-dominated and emotionally (:sexually) repressed society of the Hasidic Jews at this particular time. But for those who can get into Renee’s character for the two hours, there is a satisfaction of being a little more aware and sensitive to a culture that is foreign to many of us. Those who thought this was about sex so missed the point. Those who watched this thinking they were going to get Jerry McGuire, or even Nurse Betty will be disappointed. Those who want to see the tremendous range of Zellweger will be enriched, as many are unaware of this side of her talent. She received many cudos for this powerful performance.
Slinding Doors (Gwenyth Paltrow)
A delightful romantic drama/comedy. Paltrow and Hannah have excellent chemistry and this drives this movie about fate and parallel futures. This movie moves quickly, is well- acted, and is visually interesting. I would have gone crazy if I had seen this in a theater. I used the reverse button frequently to figure out which plot line was which until I got clued in (I was a little dense that night). I enjoyed it much more the second time (and third, and fourth, etc). Watch for the sliding doors, they come at pivotal times. This is the best movie of this genre that I have seen and am totally puzzled why it wasn’t recognized more. Also, Dido sings her hit “I Want To Thank You” over the credits, 3-4 years before it was popular in the US.
The Family Man (Nick Cage & Tea Leoni)
This really is a brilliant and satisfying motion picture. Every facet is polished, every actor perfectly cast. The concept has been condemned as a "steal" from Frank Capra, but it isn't; it's a universal wish made reality, if possibly by magical means. Tea Leoni continues to polish her work. She is a glowingly beautiful woman who can act. She almost steals the film from Nicholas Cage, but that is impossible. Cage is - if one can say this - the new James Stewart. His voice, his lanky physique, even his gestures are Stewart-esque. No wonder he got this role. Cage shines as this Jack Campbell, whether the man is an arbitrager with a carbon steel soul or a gentle, bemused husband and father. Cage is so good at this dual personality that it's clear that he still can play the guilt (sic)-edged, slightly deranged and/or highly dangerous types that have built his career, in spite of worried critics who think otherwise. One reads reviews of the film that praise with faint damns, and vice versa, because "Family Man" leaves a good feeling. What's wrong with that? The well-woven characters with interesting, contrapuntal flaws keep the film from being gooey.
To Kill A Mockingbird (Gregory Peck)
What more can be said about this classic? A great novel turned into an even greater film! How often does that happen? Gregory Peck's usual wooden acting style is perfect here as Atticus. The three children are wonderfully natural, as are the other actors, but the real stars are the novel itself, Horton Foote's screenplay, Robert Mulligan's direction, and Elmer Bernstein's score. Has there ever been a more effective scene than when at the end of the trial the Black minister turns to Scout and says "Miss Jean Louise, stand up, your father is passing"? Or a better ending? Or a better object lesson about race and class? I don't think so. Citizen Kane may be a better movie, from a technical sense, but for me, I never been more affected by a film emotionally than by To Kill a Mockingbird. After 40 years the film has lost none of its power. And then of course there are the additional little nuggets of gold such that the film includes the debut of one of our greatest actors, Robert Duvall as Boo.
The Bodyguard (Kevin Costner & Whitney Houston)
A former Secret Service agent (Costner) grudgingly takes an assignment to protect a pop idol (Houston) who's threatened by a crazed fan. At first, the safety-obsessed bodyguard and the self-indulgent diva totally clash. But before long, all that tension sparks fireworks of another sort, and the love-averse tough guy is torn between duty and romance. Songs recorded by Houston snagged two Oscar nominations.
The Firm (Tom Cruise)
Tom Cruise (a young Tom Cruise as this is a movie from 1993) does an excellent job as the new lawyer who soon learns the firm he is now working for (paying a big salary and outstanding benefits) is providing legal services for organized crime. That creates a multitude of problem for him and his new wife (played by Jeanne Tripplehorn) and leaving is not an option. The script is excellent; the action moves quickly and keeps the viewers interest. As usual, Gene Hackman is great as Tom’s mentor. The movie is exciting and thrilling. Set in Memphis, the action is non-stop.
Ghost (Demi Moore)
New Yorkers Sam and Molly see their romance shattered when a street thug kills Sam during a mugging. A spectral Sam finds himself in a world where only sassy pseudo-psychic Oda Mae can hear him. He learns, with Oda Mae's help, that a rival masking a money-laundering scheme arranged Sam's death and that Molly is in jeopardy. Working through Oda Mae, Sam tries to warn Molly before she suffers his fate. It’s all about the pottery!!!
The Godfather, Part II (Robert De Niro & Al Pacino)
The quality of this film is undeniable. The decision to intercut Vito's past with the present is well-founded. Though both Vito and Michael are gaining power and influence, we see Vito creating a family while Michael destroys his own, and each is all the more heartbreaking for it. The last murder is outdone by the birthday scene, and is even itself outdone by the final shot of the film. Michael reflecting, pensive. Is that regret for his entire life that we start to see? Is there some redemption? This film is essentially 3 hours of character development with 20 minutes of violence thrust upon it. Characters like Kay and Fredo were minor in the first one, but essential in this one. And it works because all the acting are tours de force.