What is the Best Netflix movie I can watch? We’ve all think about it after wasting 15 minutes scrolling through the streaming service’s bizarrely narrow genre menus and become overwhelmed by the constantly altering trend menus. When it comes to choosing anything to watch on Netflix, its vast library of films paired with its perplexing suggestions system may make finding something to watch feel more like a job than a way to unwind when what you actually want are amazing movies. Not the best one.
To help you, we’ve compiled a list of the 25 amazing movies now available on the service in the United States, which will be updated as new titles become available. These 25 movies on Netflix will gonna worth watching in every aspect. (Note: Streaming services sometimes remove titles or change starting dates without giving notice.)
‘Million Dollar Baby’ (2004)
Clint Eastwood starred in and directs this modest Best Picture winner, and it’s a natural fit for his traditional style: It has the feel, texture, and tone of a 1940s boxing film, but with a contemporary twist of a crusty old-timer mentoring a “female fighter.” However, it isn’t exactly a sports film. It’s about Frankie (Eastwood) and Scrap (Morgan Freeman) and their comfortable, long-standing friendship; the subtle respect Scrap shows Maggie (Hilary Swank) and her perseverance; and the growth of Frankie’s annoyance toward Maggie into grudging admiration and, eventually, love and sacrifice. “A work of absolute mastery that has nothing in particular to propound,” wrote A.O. Scott
Ava (Mama Sané), a young woman from Senegal, loses the boy she loves to the sea just days before she arranged marriage to another man in Mati Diop’s Cannes Film Festival Grand Prix winner. What begins as a story about love lost transforms into something far wilder with the ease and imagination of a particularly delicious dream, as Diop deftly weaves aspects of genre cinema into the fabric of a plot that doesn’t appear to allow them. It was described by A.O. Scott as “a tense, sensual, exhilarating film, and thus a truly unsettling one.”
The mesmerizing version of Haruki Murakami’s short story “Barn Burning” by Lee Chang-dong is infused with a sense of frustration. Burning follows Lee Jong-su (Yoo Ah-in), a would-be writer whose boredom is interrupted first by the appearance of his childhood friend Hae-mi (Jeon Jong-seo), and then by her charismatic friend Ben (Steven Yeun). Lee tangles with class, country, and everything in between, turning a three-way relationship into the seed of a mystery-thriller. With a climax that may be interpreted in a million different ways — and outstanding performances from all three stars, especially Yeun, who proves to be completely unreadable. – It’s a film you can’t get out of your head.
‘Catch Me If You Can’ (2002)
This breezy, slick, giddily entertaining caper comedy is inspired on a (maybe) true story, and Steven Spielberg reconnected with Tom Hanks and joined hands with Leonardo DiCaprio to craft it. DiCaprio plays Frank W. Abagnale Jr., an unflappable con artist who has pretended to be a doctor, a lawyer, and an airline pilot; Hanks plays the stern F.B.I. agent on his tail, and Christopher Walken received an Oscar nomination for his understated performance as Abagnale’s hustling father. Our reviewer praised its “strain of sharp social satire” and called it “a smart, entertaining escapade.” (In “What’s Eating Gilbert Grape,” DiCaprio also impresses.)
‘Silver Linings Playbook’ (2012)
Jennifer Lawrence received the Academy Award for Best Actress for her caustic and unabashedly troubled performance in David O. Russell’s (rather loose) version of Matthew Quick’s novel. It’s a deceptively casual balancing act of seemingly contradictory tones and styles, slipping nimbly from serious mental-health drama to screwball comedy to romance thanks to Russell’s deceptive casualness and the skill of his cast, especially Bradley Cooper as the unsteady protagonist and Robert De Niro and Jackie Weaver (all Oscar nominees) as his parents. It was described as “exuberant” and “a joy” by our critic.
‘At Eternity’s Gate’ ( 2018)
Willem Dafoe plays Vincent van Gogh in Julian Schnabel’s 2018 biographical film, which follows the late Impressionist painter in his final years as he battles criticism of his artistic career and talent, as well as his own wounded mind. At Eternity’s Gate is a surreal work of art that dives into the painter’s point of view as the picture violently spasms and shakes as his life gets progressively dismal. It is named after van Gogh’s 1890 painting. At the time of the film’s release, Dafoe’s performance was praised, and he received his fourth Oscar nomination at the 91st Academy Awards. —TE
Dee Rees makes her feature directorial debut with this emotional and thoughtful narrative about a Brooklyn girl named Alike (pronounced ah-LEE-kay) and her cautious attempt to come out as a lesbian — fully knowing of the hostility she will face from her controlling mother (Kim Wayans). Rees, who also wrote the script, recounts this semi-autobiographical drama like a beautifully detailed short novel, well-versed in the lives of these folks, the communities they live in, and the falsehoods they tell to cohabit. But she also depicts the allure of the subcultures Alike begins to investigate, as well as the alternative they offer the opportunity to live one’s truth without apology.
‘High Flying Bird’ (2019)
Steven Soderbergh reunites with Andre Holland, his co-star from “The Knick,” for the rarest of beasts: a sports film that doesn’t feature any sports. Instead, Tarell Alvin McCraney’s screenplay is about the business of professional sports, set during an NBA lockout in which a powerful agent (Holland) tries to exploit the lockout to turn the entire league — and all of the organized sports’ presumptions and hierarchies — upside down. Soderbergh’s direction is reflexively nimble, using on-the-fly photography and interviews with real NBA players to give the film a sense of documentary immediacy. McCraney’s script is rich with historical references and inside-basketball shout-outs; McCraney’s script is rich with historical references and inside-basketball shout-outs; Soderbergh’s direction is reflexively nimble, using on-the-fly photography and interviews
‘Ma Rainey’s Black Bottom’ (2020)
August Wilson’s Pulitzer Prize winner is authentically brought to the screen by famed stage director George C. Wolfe, which is perfect because a play this outstanding requires little in the way of “opening up,” so rich are the characters and so filled is the dialogue. The scene is set in a Chicago music studio in 1927, when the “Mother of the Blues,” Ma Rainey (Viola Davis), and her band are meeting to record several of her classics, albeit the session is constantly disturbed by disputes within the group over personal and creative problems.Chadwick Boseman, who died in 2020 and won a posthumous Golden Globe for his performance, is electrifying as the showy sidekick, Levee, a boiling pot of charisma, flash, and barely concealed rage. Davis is superb as Rainey, chewing up her lines and spitting them out with contempt at anyone who crosses her, and Chadwick Boseman, who died in 2020 and won a posthumous Golden Globe for his performance, is electrifying
‘His House’ (2020)
Filmmakers have spent the last three years attempting (and usually failing) to reproduce the combination of horror thrills and social criticism that made “Get Out” so memorable, but few have come close to British director Remi Weekes’ horrific and thought-provoking Netflix movie. He relates the account of two South Sudanese immigrants seeking asylum in London who are placed in public accommodation, which they are not allowed to leave, which becomes a problem when strange occurrences happen at night. Weekes masterfully extends this simple haunted-house premise into a poignant analysis of sorrow and desperation while sparing no shocks, making “His House” a rare film that elicits both tears and goosebumps.
Mildred and Richard Loving never considered themselves as heroes: they were just two average individuals who wanted to spend their lives together, according to the Virginia couple. So “Loving” is a personal story for writer-director Jeff Nichols (“Mud”), who trusts that the politics will be obvious. As two rural Southerners, Australian actor Joel Edgerton and Ethiopian-Irish actress Ruth Negga are completely convincing, forging a connection that is so unstaged and lived-in that the emotional stakes are just as significant as the historical implications. “There are few films that speak to the American present more movingly — and with as much idealism,” Manohla Dargis praised.
‘Dick Johnson Is Dead’ (2020)
Dick Johnson tells his daughter Kirsten, “I’ve always wanted to be in the movies,” and he’s in luck because she makes them, primarily documentaries on life and death. So they transform his struggle with Alzheimer’s and impending death into a film, one that Manohla Dargis describes as “resonant and, in moments, deep,” blending staged false deaths and heavenly reunions with tough familial relationships. He’s a nice guy, warm and giggling all the time, and a good sport, willingly participating in these convoluted, morbid (and darkly amusing) scenarios. But it’s essentially a film about a father and daughter, and their long-term relationship lends the film a warmth and transparency that even the best documentaries can’t match. It’s happy, sad, and moving all at the same time.
‘The Old Guard’ (2020)
The adaptation of Greg Rucka’s comic book series by Gina Prince-Blythewood offers exactly what you’d expect: The action beats are well-executed, the mythology is well-defined, and the parts for future editions are thoughtfully put. But it isn’t what distinguishes it. The film is driven by its relationships rather than its effects — and by conscientious attention to the morality of its problems — thanks to Prince-Blythewood’s history in character-driven drama (her credits include “Love and Basketball” and “Beyond the Lights”). It’s a “new take on the superhero genre,” according to A.O. Scott, and he’s right; despite being based on a comic book, it’s far from goofy.
‘Da 5 Bloods’ (2020)
Spike Lee’s latest film is a genre-bending mix of war film, protest film, a political thriller, character drama, and graduate-level history course in which four African-American Vietnam vets return to the jungle to unearth the remains of a fallen comrade — and, in the process, a forgotten cache of stolen war gold. It may have been a traditional back-to-Vietnam film or a “Rambo”-style action/adventure film in other hands (and those elements, to be clear, are thrilling). But Lee goes much further, cramming the film with historical references and subtext, overtly drawing parallels between the period’s civil rights movement and today’s protests. A.O. It was a “long, painful, hilarious, violent expedition into a hidden chamber of the nation’s heart of darkness,” according to Scott. (Check out “Sleight” for more genre-infused drama.)
This wide-ranging deep dive into mass incarceration is directed by Ava DuVernay (“Selma”), who traces the origins of America’s modern prison system — overcrowded and disproportionately populated by Black inmates — back to the 13th Amendment. It’s a big issue to cover in 100 minutes, so DuVernay will have to skim and slice his way through it. But that necessity engenders its style: “13TH” blasts through history with a real hurry that combines perfectly with its righteous rage. It was described as “strong, irritating, and at times overwhelming” by our critic.
‘I’m Thinking of Ending Things’ (2020)
In this mind-bending adaptation of the Iain Reid novel, an anxious young woman (Jessie Buckley) joins her boyfriend (Jesse Plemons) on a road journey to meet his parents, written and directed by Charlie Kaufman (Toni Collette and David Thewlis). Surrealist imagery, nightmare logic, bizarre parallel stories, and events shuffled out of time are interspersed — and frequently interrupted — with Kaufman’s protagonist’s voice-over narration, a nonstop monologue of verbose uncertainty, bound together with his protagonist’s voice-over narration, a nonstop monologue of verbose uncertainty. It was dubbed “Kaufman’s most assured and adventurous achievement as a director” by A.O. Scott.
‘Lady Bird’ (2017)
Greta Gerwig’s solo feature directorial debut, based in her hometown of Sacramento, Calif., is a humorous and incisive coming-of-age storey. In the title role, Saoirse Ronan dazzles as a quietly defiant high-school senior whose long-simmering resentments toward her mother (Laurie Metcalf, outstanding) are brought to a boil by her quest for love and popularity. In teen dramas, parent-child problems are nothing new, but Gerwig’s astute screenplay cuts through the clichés, daring to create people who are complex and flawed yet emotionally sympathetic. The film’s “freshness and surprise” were commended by A.O. Scott.
‘Scott Pilgrim vs. the World’ (2010)
This one-of-a-kind action/comedy with a snappy graphic-novel look is directed by Edgar Wright (“Baby Driver”). Despite the fact that it is based on a comic book storyline and has video game-inspired sequences, viewers are not required to be familiar with either; Wright simply adopts those genres’ high-energy visual language to convey his charming story more exuberantly and humorously. A.O. Scott complimented “Pilgrim” for its “speedy, humorous, happy-sad spirit,” which veers from one disarming set piece to the next with vigor and vitality. It’s also a “before they were stars” spectacular, featuring a cast of excellent young actors who were just about to pop.
‘The Florida Project’ (2017)
Sean Baker, the director of “Tangerine,” returns with another warm and funny portrait of life on the outskirts, bringing together a cast of nonactors and newcomers with an Oscar-nominated Willem Dafoe as the manager of a cheap Orlando motel populated by confused tourists and barely-managing families. The script (by Baker and Chris Bergoch) conveys the worries of living paycheck-to-paycheck (especially when the next paycheck’s very existence is in doubt), while also borrowing the devil-may-care humor of the story’s central characters. It was described as “risky and revelatory” by our critic.
The Bling Ring’ (2013)
In this darkly humorous and stylishly thought-provoking real story, Sofia Coppola tackles excessive consumption, Millennial malaise, and upper-class entitlement (adapted from a Vanity Fair article by Nancy Joe Sales). Emma Watson is the leader of a group of young, gorgeous rich females who has spent years gaining access to their famous neighbors’ homes (and spoils), partying in Paris Hilton’s “nightclub room,” and nonchalantly swiping Lindsay Lohan’s jewelry. Coppola refuses to censure or apologize for their actions; it is “neither a cautionary tale of youth gone wrong nor a jest at the expense of teenagers these days,” as A.O. Scott put it.