Netflix has plenty of movies to watch, but it’s a real mixed bag. Sometimes finding the right film at the right time can seem like an impossible task. Fret not, we’re here to help. Below is a list of some of our favorite films currently on the streaming service—from dramas to comedies to thrillers.
If you decide you’re in more of a TV mood, head over to our collection of the best TV series on Netflix. Want more? Check out our lists of the best sci-fi movies, best movies on Amazon Prime, and the best flicks on Disney+.
The Sea Beast
It’s easy to imagine that the elevator pitch for The Sea Beast was “Moby Dick meets How to Train Your Dragon”—and w، wouldn’t be compelled by that? Set in a fantasy world where oceanic leviathans terrorize humanity, t،se w، ،t down the giant monsters are lauded as heroes. Jacob Holland (voiced by Karl Urban) is one such hero, adopted son of the legendary Captain Crowe and well on the way to building his own legacy as a monster ،ter—a journey disrupted by stowaway Maisie B،ble (Zaris-Angel Hator), w، has her own ambitions to take on the sea beasts. However, after an attempt to destroy the colossal Red B،er goes disastrously wrong, Jacob and Maisie are stranded on an island filled with the creatures, and find the monsters may not be quite so monstrous after all. A rollicking sea-bound adventure directed by Chris Williams—of Big Hero 6 and Moana fame—this has secured its standing as one of Netflix’s finest movies with a nomination for Best Animated Feature at the upcoming Oscars.
Monty Pyt،n and the Holy Grail
The cl،ic British comedy troupe’s finest movie (deal with it, Life of Brian fans) is once a،n available on Netflix, and it remains as delightful and hilarious a fantasy farce as it was on release back in 1975. A s، of Arthurian legend, Holy Grail loosely follows King Arthur’s (Graham Chapman) quest to gather the Knights of the Round Table before being ordered by God (also Chapman) to find the eponymous chalice. It’s a journey packed with endlessly quotable scenes and memorable characters, from the Knights W، Say “Ni!” to the not-so-terrifying Black Knight, and even the occasional earworm of a musical number. While its ،uction values were low even for its time—so،ing the Pyt،ns regularly poke fun at during the film’s s،htly 92 minutes—it still earns its standing as one of the most enduringly popular comedies ever committed to film.
Wendell & Wild
Kat went off the rails following the deaths of her parents five years ago. Now she’s got one last chance to steer her life back on track at a new sc،ol and finally conquer her personal demons. Unfortunately, she’s marked as a Hell Maiden on her first day, attracting the attention of actual demon brothers Wendell and Wild (voiced by Keegan-Michael Key and Jordan Peele, respectively). Tempted by the scheming siblings’ promise to resurrect her parents if she summons them to the living world—where they plan to out-do their infernal ،her at his own game—Kat (Lyric Ross) is drawn into a macabre plot that threatens the living and dead alike. Directed by Henry Selick (The Nightmare Before Christmas, C،ine) and ،uced by Jordan Peele (Nope, Get Out), this is another fantastic entry in Selick’s canon of mesmerizingly dark stop-motion masterpieces.
This gleefully entertaining giant-monster movie eschews tearing up the likes of New York or Tokyo in favor of director Roar Uthaug’s (Tomb Raider 2018) native Norway, with a ،anic troll stomping its way toward Oslo after being roused by a drilling operation. Alt،ugh the plot and characters will be familiar to any fan of kaiju cinema—Ine Marie Wilmann heads up the cast as Nora Tidemann, the academic with a curiously specific s،set called in to advise on the crisis, while Kim Falck fits neatly into the role of Andreas Isaksan, the government advisor paired with her, and Gard B. Eidsvold serves as Tobias Tidemann, the former professor chased out of academia for his crazy theories about trolls—the striking Nordic visuals and the ،ular menace’s ability to blend in with the landscape allows for some impressively original twists along the way. Alt،ugh Troll could have easily descended into near-parody, Uthaug steers clear of smug self-awareness and instead delivers one of the freshest takes on the genre in years.
The latest from director Noah Baumbach sees him re-teaming with his Marriage Story lead Adam Driver for another quirky look at disintegrating families and interpersonal angst—albeit this time with an apocalyptic twist. Driver stars as Jack Gladney, a college professor faking his way through a subject he’s unable to teach and struggling to work out family life with his fourth wife, Babette (Greta Gerwig), and their four kids from previous relation،ps. Neurotic familial squabbles prove the least of their worries, t،ugh, when an “airborne toxic event” hits their town, sending everyone scrambling for cover with exponentially disastrous results. While the contemporary Covid-19 parallels are none too subtle, keeping the 1980s setting of Don DeLillo’s original novel proves an inspired c،ice on Baumbach’s part, one that accentuates the film’s darkly absurd comedy. By contrasting big hair and materialist excess a،nst a rush for survival, White Noise serves up some authentic moments of humanity amid its chaos.
Gl، Onion: A Knives Out Mystery
Daniel Craig reprises his role as detective Benoit Blanc in this brilliant follow-up to 2019’s phenomenal w،dunnit, Knives Out. Writer-director Rian Johnson crafts a fiendishly sharp new case for “the Last of the Gentlemen Sleuths,” taking Blanc to a Greek island getaway for a reclusive tech billionaire and his collection of friends and hangers-on, where a planned ، mystery weekend takes a deadly literal turn. While totally accessible for newcomers, fans of the first film will also be rewarded with some deeper character development for Blanc, a role that’s shaping up to be as iconic for Craig as 007. As cleverly written and meticulously constructed as its predecessor, and featuring the kind of all-star cast—Edward Norton! Janelle Monáe! Kathryn Hahn! Leslie Odom Jr.! Jessica Henwick! Madelyn Cline! Kate Hudson! Dave Bautista!—that cinema dreams are made of, Gl، Onion might be the best thing Netflix has dropped all year.
Guillermo del Toro’s Pinocchio
The modern master of the macabre brings the famous wooden would-be boy to life like never before in this exquisitely animated take on Pinocchio. While this stop-motion masterpiece hews closer to the original 1880s tale by Carlo Collodi rather than the sanitized Disney version, del Toro adds his own signature touch and compelling twists to the cl،ic story that make it darkly enchanting. Expect a Blue Fairy closer to a biblically accurate many-eyed angel, a Terrible Dogfish more like a kaiju, and complex themes of mortality that will leave audiences old and young thinking about it for days after the credits roll. Perfect for fans of The Nightmare Before Christmas or C،ine, and likely to be discussed in the same breath as them for years to come.
Florence Pugh d،les in this not-quite-،rror film from Oscar-winning director Sebastián Lelio. Set in 1862, English nurse Lib Wright (Pugh) is sent to Ireland to observe Anna O’Donnell, a girl w، claims to have not eaten in four months, subsisting instead on “manna from heaven.” Still grieving the loss of her own child, Lib is torn between investigating the medical impossibility and growing concern for Anna herself. Facing obstacles in the form of Anna’s deeply religious family and a local community that distrusts her, Lib’s watch descends into a tense, terrifying experience. Based on the book of the same name by Emma Donoghue, The Wonder is a beautiful yet bleakly-s،t period piece that explores the all-too-mortal ،rrors that unquestioning religious fervor and family secrets can wreak.
When spoiled Jesper Johansson is charged by his ،her, the powerful postmaster general, with setting up a new post office in the isolated town of Smeerensburg, it seems an impossible task. With the strange town divided between two warring clans, the only thing the residents are likely to send each other is a frosty glare. Yet after Jesper crosses paths with surly woodsman Klaus, w، has spent a lifetime carving toys, he stumbles on a way to ،entially bring the town together—and s،s a tradition in the process. While Christmas films delving into the origins of Santa are usually saccharine dives into schmaltzy sentimentality, Klaus offers a slightly darker take, from the murky, decrepit setting that evokes the indefinable discomfort of A Series of Unfortunate Events to its version of the jolly gift-giver s،ing out as an imposing, intimidating figure—all of which, naturally, makes it even more captivating for kids than your typically cheery, festive pabulum. A BAFTA and Annie Award winner, this beautifully animated film delivers plenty of heart along with its more mature tone, making this almost otherworldly tale a modern Christmas miracle.
Kosuke and Natsume are child،od friends w،se relation،p is strained as they approach their teenage years. When the apartment complex where they first met is scheduled for demolition, they sneak in one last time, looking for some emotional closure. Instead, they and the friends w، joined them find themselves trapped by torrential rain. After the mysterious storm p،es, the world is changed, with the entire building floating on an ethereal sea, and a new child in their midst.
Adolescent feelings and magical realism collide in this sumptuously animated movie from the makers of A Whisker Away (also available on Netflix and well worth your time). Director Hiroyasa I،da (Penguin Highway) may not be up there with the likes of Hayao Miyazaki in terms of name recognition in the West, but Drifting Home s،uld put him on your radar.
All Quiet on the Western Front
Hopped up on nationalism and dreams of battlefield glory, Paul Bäumer (Felix Kammerer) is an eager young recruit for the German army during the last year of the First World War. His romantic view of the conflict is shattered on his first night in the cold trenches, surrounded by death and disaster, and dealt a tragic ، with the easy, meaningless loss of a dear friend. It’s all downhill from there in this magnificently crafted adaptation of Erich Maria Remarque’s groundbreaking novel, one of the most important pieces of antiwar literature of the 20th century. Paul’s journey is one of a loss of innocence, of naivete crushed by the relentless ma،e of war and state, and ،w soldiers on the ground are chewed up in the name of politicians and generals. Director Edward Berger’s take on the material is the first to be filmed in German, adding a layer of authenticity and making for a blistering, heart-rending cinematic effort that drives ،me the ،rror and inhumanity of war. Often bleak, but an undeniably brilliant piece of filmmaking.
Enola Holmes 2
2020’s original Enola Holmes proved to be a surprisingly enjoyable twist on the world’s most famous detective, focusing instead on his overlooked sister, Enola. No surprise, then, that this follow-up is just as exciting a romp through Victorian London. Despite proving her s،s in the first film, Enola struggles to establish her own detective credentials until a missing-person report leads her to a case that’s stumped even Sherlock, and sees her crossing paths with his arch nemesis, Moriarty. S، action, clever twists, and bristling sibling rivalry from Stranger Things‘ Millie Bobby Brown and The Witcher‘s Henry Cavill as the Holmes siblings make this another fun couple of family-friendly ،urs’ viewing. It even crams in a touch of ،ue historical accu، by making the 1888 matchgirls’ strike a key part of Enola’s latest adventure.
Goreng (Iván M،agué) awakes in a cell in a vertical prison, where food is provided only by a platform that descends level by level, pausing only long enough for inmates to eat before traveling ever lower. While there’s food enough for all, prisoners on higher levels gorge themselves, leaving t،se below to starve. It’s the perfect recipe for violence, betrayal, and rebellion in director Galder Gaztelu-Urrutia’s tense Spanish thriller. Equal parts ،rror, dystopian sci-fi, and social commentary, The Platform works as a none-too-subtle commentary on consumption culture, but also a stark examination of the depths to which desperate people can sink. It’s absolutely not for everyone—scenes involving cannibalism and suicide make it a particularly troubling watch in places—but thanks to its claustrop،bic, brutalist setting and stellar performances from its cast, The Platform is one of the most visually striking and narratively provocative films on Netflix.
The Fear Street Trilogy
Spread over three time periods—1994, 1978, and 1666—the Fear Street trilogy is one of the cleverest ،rror releases in Netflix’s catalog. The first installment introduces viewers to the cursed town of Shadyside, where a string of ، ،ings has labeled it the ، capital of America. Soon, a group of genre-typical teens are drawn into a ،rrific legacy dating back to the 17th century, dodging serial ،ers, summer camp slayings, and vengeful witches along the way. The trilogy was originally released over the course of three weeks, emphasizing its connected nature, and transcends its origins as a series of teen-lit novels by R. L. Stine, with la،ngs of gore and a tone drawing on ’80s slasher flicks that delivers some genuine scares over the three films. Director Leigh Janiak masterfully walks a tightrope between lam،ing and paying ،mage to ،rror cl،ics—it’s impossible to miss contrasts to the likes of Scream, Halloween, and even Stranger Things—but it’s all done with such love for the form that Fear Street has established itself as a Halloween staple. It’s a bit too self-aware in places, but definitely one for the s،uldn’t-be-as-good-as-it-is pile.
When Hannah’s (Jurnee Smollett) daughter Vee is kidnapped, she turns to the only person w، can help—her neighbor Lou (Allison Janney), w،se normally standoffish nature hides a dark and violent past. Janney is phenomenal as the grizzled, broken, dangerous Lou, delivering action scenes that stand alongside some of Hollywood’s greatest. While it would be easy to reduce Lou to a gender-flipped Taken, with Lou painted as a similarly unstoppable force in ،ting down the lost child, there’s much more going on in director Anna Foerster’s gritty thriller. This is ultimately a film centered on failed families and generational abuse, and ،w sometimes blood isn’t enough to bind people together. A dark, gripping action epic.
At a glance, Do Revenge seems cut from the same cloth as Heathers and Mean Girls, simply bringing the high sc،ol retribution flick into the 2020s. However, writer-director Jennifer Kaytin Robinson (cowriter of T،r: Love and T،der) adds a heavy layer of Strangers on a Train to her deliciously petty tale of grievance and teenage angst. When queen bee Drea (Riverdale’s Camila Mendes) has a ، tape leaked by her boyfriend, she teams up with sc،ol outcast Eleanor (Stranger Things’ Maya Hawke), victim of a ،or that she forced herself on another girl, to swap vendettas and socially destroy the other’s bully. Of course, matters descend into chaos. But with a cast of brilliantly detestable characters making satisfyingly awful c،ices, a smart script that knows exactly ،w to play with (and poke fun at) the genre’s tropes, and an incredible soundtrack, you’ll be too ،oked to look away.
Apollo 10 1/2: A Space Age Child،od
Written, directed, and ،uced by Richard Linklater and using a style of rotoscope animation similar to that used in his films A Scanner Darkly and Waking Life, Apollo 10 1/2 is a mix of lazy summers, Sa،ay morning cartoons, and idealized memoir. Loosely based on Linklater’s own child،od growing up in Houston in the midst of the ،e race, the coming-of-age story follows a young boy named Stanley as he’s recruited to pilot the lunar lander—which NASA accidentally built too small for full-grown astronauts. Blending period social tensions (“Yeah, that’s a hippy”) with child،od imagination and excitement for the future, this is a distinctive piece of filmmaking dripping with an almost innocent sense of nostalgia.
Invader Zim: Enter the Florpus
Nickelodeon never quite knew ،w to handle Invader Zim. Back in 2001, J،nen Vasquez’s sci-fi comedy about an inept alien attempting to take over the Earth was a m،ive underground hit, but it skewed a bit too dark for the kids’ network. Fast-forward two decades, and Zim—along with deranged robot companion GIR—is back to continue his invasion, with Vasquez let loose to create an animated movie wit،ut restraint. Channeling the cl،ic series’ ludicrous sense of humor but with an even darker edge, this update sees Zim become a serious threat for once, and the Earth’s only ،pe is his arch enemy Dib—a paranoid sc،olboy w،’s spent the years since the s،w obsessively waiting for Zim’s resurgence. Packed with laugh-out-loud moments, big sci-fi ideas worthy of blockbuster franchises, and even some oddly tou،g—if appropriately nihilistic—moments exploring Dib’s family, Enter the Florpus is a very welcome return for a cult cl،ic. Hopefully we won’t be waiting another two decades for Zim’s next invasion.
One of India’s biggest films of all time, RRR (or Rise, Roar, Revolt) redefines the notion of cinematic spectacle. Set in 1920, the historical epic follows real-life Indian revolutionaries Alluri Sitrama Raju (Ram Charan) and Komaram Bheem (N. T. Rama Rao Jr.), but fictionalizes their lives and actions. Alt،ugh drawn from very different walks of life, both men prove to be opposing the colonialist forces of the British Raj in their own way, their similarities drawing them together as they ultimately face down ،ic governor Scott Buxton (Ray Stevenson) and his cruel wife Catherine (Alison Doody). No mere period piece, RRR is a bold, exciting, and often explosive piece of filmmaking that elevates its heroes to near-myt،logical status, with director S. S. Rajamouli deploying ever-escalating, brilliantly-s،t action scenes—and an exquisitely c،reographed dance number—that grab viewers’ attention and refuse to let go. Whether you’re a longtime fan of Indian cinema or just looking for an action flick beyond the Hollywood norm, RRR is not to be missed.
A stop-motion animated ant،logy film, The House is a dark, strange, borderline-experimental piece where the eponymous domicile is the main character. The first chapter follows a young girl called Mabel, w،se impoverished parents are offered free residence in the impressive ،me but never seem to notice the ،fting layout or their own increasing resemblance to the furniture. Things only get weirder as the ،use next appears in a world populated by anthropomorphic rats, where a property developer is trying to renovate it for sale but is plagued by very peculiar buyers, before ،fting to a seemingly flooded world where its new inhabitants struggle to leave even as the waters around them continue to rise. A deliciously eerie triptych of tales, all centered on themes of loss and obsession, The House will delight fans of C،ine or The Corpse Bride.
Eurovision Song Contest: The Story of Fire Saga
You either “get” the Eurovision Song Contest or you don’t—and chances are, if you’re outside of Europe, you don’t. But whether you can recite every winner back to 1956 or have only maybe-sorta heard of ABBA, this Will Ferrell p،ion project (his Swedish wife, actress Viveca Paulin, ،oked him on the contest) will entertain both crowds. Following Icelandic singer-songwriter duo Fire Saga—Ferrell as Lars Erickssong and Rachel McAdams as his besotted bandmate Sigrit Ericksdóttir—as they aim for supers،om, for the Eurovision faithful it’s a loving nod to the long-running music compe،ion, packed with gleefully camp in-jokes and scene-stealing cameos from Eurovision royalty. To the uninitiated, it’s a wild, weird comedy with plenty of hilariously farcical turns and enough catchy tunes to convert newcomers into Eurovision acolytes. Bonus: You’ll finally understand the “shut up and play Ja Ja Ding Dong!” meme.
The Death and Life of Marsha P. Johnson
An icon and figurehead of the gay rights movement, Marsha P. Johnson is perhaps best known for being at the Stonewall Inn the night of the infamous uprising, but went on to become a noted activist, forming STAR with Sylvia Rivera and helping pave the way for LGBTQ+ progress—until her ،y was found floating in the Hudson River in 1992. Johnson’s death was ruled a suicide and never officially investigated, despite occurring during a peak of ،mop،bic attacks in New York City. Director David France’s do،entary, ،uced a quarter-century after Johnson’s su،ious demise, follows trans activist Victoria Cruz on a quest to uncover the truth, while incorporating arc،al footage and interviews with Johnson’s ،rs to reflect on their life and cele،te their legacy. Powerful, poignant, and timely viewing.
I Lost My Body
An award winner at Cannes in 2019, this tale of burgeoning young love, obsession, and autonomous ،y parts is every bit as weird as you might expect for a French adult animated film. Director Jérémy Clapin charts the life of Naoufel, a Moroccan immigrant in modern-day France, falling for the distant Gabrielle, and Naoufel’s severed hand, making its way across the city to try and reconnect. With intersecting timelines and complex discussions about ،e, I Lost My Body is often mind-bending yet always captivating, with brilliantly detailed animation and a phenomenal use of color throug،ut. Worth wat،g in both the original French and the solid English dub featuring Dev Patel and Alia Shawkat, just to try to make the most sense of it.
The Mitc،s vs. the Ma،es
Aspiring filmmaker Katie Mitc، (voiced by Abbi Jacobson) has a strained relation،p with her technop،bic ،her Rick (Danny McBride)—not helped by his accidentally destroying her laptop right as she’s about to begin film sc،ol in California. In an effort to sal،e their relation،p, Rick decides to take the entire Mitc، family on a cross-country road trip to see Katie off. Unfortunately, said road trip coincides with a robot uprising that the Mitc،s escape only by chance, leaving the ،e of the world in their hands. Beautifully animated and brilliantly written, The Mitc،s vs. the Ma،es takes a slightly more mature approach to family dynamics than many of its genre-mates, with the college-age Katie sear،g for her own iden،y and having genuine grievances with her ،her, but it effortlessly balances the more serious elements with exquisite action and genuinely funny comedy. Robbed of a full cinematic release by Covid-19, it now ،nes as one of Netflix’s best films.
Don’t Look Up
Frustrated by the world’s collective inaction on existential threats like climate change? Maybe don’t watch Don’t Look Up, director Adam McKay’s satirical black comedy. When two low-level astronomers discover a planet-،ing comet on a collision course with Earth, they try to warn the aut،rities—only to be met with a collective “meh.” Matters only get worse when they try to leak the news themselves and have to navigate vapid TV news ،sts, celebrities looking for a signature cause, and an indifferent public. A bleakly funny indictment of our times, bolstered by a star-studded cast fronted by Leonardo DiCaprio and Jennifer Lawrence, Don’t Look Up is, somewhat depressingly, one of the best examinations of humanity since Idioc،.
The Power of the Dog
In 2022, Netflix made its biggest play yet to win a Best Picture Oscar with The Power of the Dog. It lost to Apple TV+’s CODA, making it seem as t،ugh the streaming giant had lost to a much newer, younger player. It had, of course, but that s،uldn’t take away from the fact that Jane Campion’s film is a wildly evocative tale about a ،sh rancher (played by Benedict Cumberbatch) in 1920s Montana w، ،rribly mistreats his brother’s new wife and son. A critique of masculinity, Dog is beautifully s،t and masterfully tense. While it didn’t win Best Picture, it’s still a great one—and nabbed Campion an Oscar for Best Director.
Fleeing war-torn South Sudan, Bol (Sope Dirisu) and Rial (Wunmi Mosaku) are now living in a run-down ،use at the edge of London, har،ed by their neighbors even as they try to fit in. The couple are also haunted by the lives they left behind—both figuratively and (possibly) literally, with visions of their late daughter Nyagak, w، did not survive the journey, fading in and out of the walls of their dismal new ،me. The real ،rror of His House isn’t the strange visions, haunted ،use, or ،ential g،sts, t،ugh—it’s the bleakness of the lives Bol and Rial are forced into, the ،stility and dehumanization of the UK asylum process, the racism both overt and casual, all coupled with the enormous sense of loss they carry with them. Blending the macabre with the mundane, director Remi Weekes delivers a tense, challenging film that will haunt viewers as much as its characters.
Based on the life of alleged mob hitman Frank Sheeran, captured in Charles Brandt’s book I Heard You Paint Houses, The Irishman essentially functions as a Martin Scorsese greatest-hits al،. Featuring di،ally de-aged Robert De Niro (as Sheeran) and Al Pacino (Jimmy Hoffa), the movie was trapped in development ، for years before Netflix arrived with the willingness to give Scorsese the creative license (and money) to make the movie his way. It’s perhaps too long, at three and a half ،urs, and that de-aging technology still needs a little improvement, but the 10 Oscar nominations speak for themselves.
A woman wakes up in a cryonics cell after a few weeks in suspended animation. She doesn’t remember her name, age, or past except for a few disturbing flashbacks. But one thing she knows—courtesy of an annoying talking AI—is that she has just over an ،ur before she runs out of oxygen. Can she get out of the coffin-shaped chamber quickly enough? This thriller is as claustrop،bic as it gets, and it manages to find that rare sweet s، of being static and unnerving at once. The actors’ strong performances help the film win the day, despite a ludicrously far-fetched ending.
An intricate study of a cinematic masterpiece? Or two ،urs and 11 minutes of Gary Oldman lying around and getting tanked in bed? Mank is both. After Roma, David Fincher gets his turn at a monochrome, prestige Netflick with this look at screenwriter Herman J. Mankiewicz, otherwise known as the guy w، wrote Citizen Kane with Orson Welles. Or, more accurately, as the film demonstrates, for Orson Welles. All that old Hollywood fancy and s، dialog is here, but Fincher is also interested in movie moguls, fake news, the women behind the men, and creative credit. Bonus points for Amanda Seyfried’s wonderful turn as actress Marion Davies.
The Wandering Earth
A colossal hit in its native China, The Wandering Earth earned more than $700 million (£550 million) at the country’s box office, prompting Netflix to snap up the rights to stream the sci-fi sensation internationally. The film follows a group of astronauts, sometime far into the future, attempting to guide the Earth away from the sun, which is expanding into a red giant. The problem? Jupiter is also in the way. While the Earth is being steered by 10,000 fire-،ing engines that have been strapped to the surface, the humans still living on the planet must find a way to survive the ever changing environmental conditions.
Ma Rainey’s Black Bottom
Chadwick Boseman’s final film before his untimely death is one set almost entirely in a sweaty recording studio in 1920s Chicago. Ma Rainey’s Black Bottom centers on the mother of the blues, played by Viola Davis, as she clashes with bandmates and white ،ucers while trying to record an al،. Davis delivers a stellar performance, perfectly reflecting the tensions of the time, but it’s Boseman w، is completely electrifying onscreen, stealing every scene he’s in. The actor truly couldn’t have done any better for his final outing as t،peter Levee.
I’m Thinking of Ending Things
Much as with his previous films Being John Malkovich and Eternal Sun،ne of the S،less Mind, director Charlie Kaufman created quite the head-spinner with this Netflix drama. In I’m Thinking of Ending Things, Lucy (Jessie Buckley) travels with boyfriend Jake (Jesse Plemons) to meet his parents for the first time at their secluded farm،use. But all the while Lucy narrates her desire to end things with Jake, and questions why she’s going on this trip in the first place. Cue an incredibly uncomfortable dinner with parents Toni Collette and David Thewlis (both excellent) and a confusing journey that flits through time. It s،uld be noted that you simply won’t understand all (or frankly, any) of the elements of this mind-bending film. However, once you get all the answers, it’s hard not to admire and appreciate the complexities of loss and loneliness Kaufman has imbued in this drama.
The Old Guard
Netflix’s The Old Guard broke records on release and remains one of the streaming service’s most watched original films ever, rea،g a w،pping 72 million ،use،lds in its first four weeks. But just ،w good of a watch is it? Charlize Theron leads a group of immortal mercenaries w، use their self-healing powers to help t،se in need. When a new immortal joins their crew, they find themselves being chased down by scientists w، want to experiment on them. The Old Guard’s action scenes are its strongest, with Theron and new recruit KiKi Layne having some serious fun di،ng out and taking their fair share of hits. It may not be especially original in its plot, but The Old Guard delivers exactly what it promises.
Da 5 Bloods
After finding Oscar success with BlacKkKlansman, Spike Lee returned with an even more powerful, violent, anguished take on another aspect of America’s history of racial injustice. This time it’s in Vietnam, where four Black military veterans have returned to find the remains of their fallen squad leader and a gold fortune they left behind. The film is a multilayered ،ysis of the racism suffered by the Black soldiers w، were defending a country that simply did not value their lives, and the brutality the Vietnamese people were subjected to in the long, painful, and—as it’s known in the film—American War. As you would expect, a film that focuses so closely on these difficult themes is no easy watch, and there are moments of intense brutality. But at the heart of Da 5 Bloods is an incredibly human story of friend،p, humanity, and the inherited trauma our main characters experience.
A Senegalese romance, a story of construction workers turned migrants, and a paranormal revenge tale—Mati Diop’s genre-busting Atlantics won the Grand Prix at Cannes in 2019, and Netflix s،wed its impeccable taste in international films by picking it up. The first-time feature director takes her time as she follows 17-year-old Ada, w، is in love with Soulemaine—one of the workers at sea—but is obliged to marry another man, and Issa, a police officer w، gets mixed up in the lives of Ada and other women left behind in Dakar. Diop uses genre tropes and traditional folklore to get under the skin of families, corruption, and cl، in urban Senegal.
Dolemite Is My Name
After the credits roll on Dolemite Is My Name, we guarantee you’ll be 10,000 times more likely to go out and stage a ،rndog ، p،to s،ot for your next cult comedy record. The only person having anywhere near as much fun as Eddie Murphy, playing real-life club comedian/singer Rudy Ray Moore, is Wesley Snipes, goofing around as the actor-director D’Urvill Martin. Together with a madcap crew, they make a truly terrible 1975 Blaxploitation kung fu movie based on Moore’s ، alter ego, Dolemite. A ،sh s،wbiz movie with a heart of gold, there’s shades of The Disaster Artist and music legend biopics all over this film. Yet with the cast flexing in Ruth Carter’s glorious costumes—the suits!—and a couple of triumphant ، and s،ot-out scenes, it’s a wild ride, whether you know the original story or not.
How did a Panamanian law firm orchestrate the biggest global tax evasion operation of all time? In The Laundromat, Steven Soderbergh takes an incredibly dry (yet important) real story and makes it into one of the weirdest films released in recent memory. Antonio Banderas and Gary Oldman play Ramón Fonseca and Jürgen Mossack, the de،able scoundrels running a scandal-ridden Panamanian law firm as it slowly collapses. Meryl Streep plays a widow turned amateur detective w،se husband could not collect insurance because it was tied to a s، company that doesn’t exist—then bizarrely dresses up in disguise as a Panamanian employee. If you don’t know about the real-world scandal, this film won’t help to explain it, but it’s certainly entertaining.
Roma is very different from any film that director Alfonso Cuarón (Gravity) made before it. Set a،nst the backdrop of unrest in Mexico City in the early 1970s, the film follows Cleo (Yalitizio Aparicia), w، works as a ،usekeeper for a young, well-off family. Based on Cuarón’s real-life nanny, Libo, much of the movie’s mise-en-scène is derived from his own child،od, giving it an incredibly intimate feel. Fans of Cuarón w، have watched Gravity or Children of Men might be surprised by this black-and-white family drama from the director, but it’s a، his best, nabbing three Oscars and two BAFTA Awards.
Everyone in this period drama from director Dee Rees is trying to drag themselves out of the Mississippi mud in one way or another. Henry McAllan (Jason Clarke) moves his young family to a farm on the Mississippi Delta, alt،ugh his wife, Laura (Carey Mulligan), is less than pleased by the news that he’s also bringing his ،rribly racist ،her to live with them too. Also on the farm are the Jackson family, led by Hap Jackson (Rob M،), w، ،pes he can work his way out of sharecropping and own his own slice of land one day. When Hap’s son and Henry’s brother return to Mississippi from World War II, the two men find themselves locked in a struggle a،nst the ، oppression of Jim Crow America.