Netflix's library is so vast that it's often tough to figure out what to watch. Luckily,
if you know what to look for, you're bound to find a few stone-cold classics. From underrated
gems to timeless favorites, these are the best movies on Netflix right now.
Over the past decade, A24 Films has transformed itself from the little indie studio that could
into a bonafide powerhouse, one that regularly challenges big-time studios for box office
supremacy and awards season glory. They've done so by continuing to release a near-immaculate
slate of films that vary from high-minded genre fare to complex human dramas and comedies
and pretty much everything in between.
2016 was the year A24 became a legit player in Hollywood, and, not coincidentally, it
was also the year the studio released Barry Jenkins' heartfelt and harrowing coming-of-age
drama Moonlight. This film cleaned up at the box office, blew the critics away, and stormed
the Oscars by claiming three Academy Awards, including Best Picture.
Much has already been said about Moonlight's dramatic virtue and brilliant artistic integrity,
but you really can't downplay just how good this movie is. A number of pitch-perfect performances,
the stylistic mix of naturalistic and expressionistic photography, and an awe-inspiring original
score make Moonlight every bit the immaculate human drama you've heard so much about. If
you've yet to experience it for yourself, then don't wait around, because there's really
no better time to bask in the lush and lavish glow of Moonlight.
In 2015, Justin Benson and Aaron Moorhead teamed up to release Spring, a wildly innovative,
Lovecraftian romance about a young man falling in love with a mysterious woman while traveling
in Europe. Despite scoring well with critics, however, not many people actually saw it.
Those who did likely discovered Spring on Netflix, where the film eventually garnered
its well-deserved status as a cult classic.
Fans of Spring knew full well what Benson and Moorhead could do, and so they anxiously
awaited the pair's next offering. Then, in 2017, they released The Endless, another critically
acclaimed genre mashup that follows a similarly grounded, dramatic approach to horror and
sci-fi filmmaking.
In The Endless, Benson and Moorhead spin a complex tale of two brothers who make the
fateful decision to revisit the "alien death cult" they had managed to escape in their
youth. And that's about all you need to know going in, because part of The Endless' narrative
magic is found in uncovering the film's unnerving, existential mysteries for yourself.
"Saying more would be like trying to explain an impossible color."
It's a mind-bending trip into the unknown, and by the end you'll be sure of just one
thing: that Benson and Moorhead are two of the most daring cult filmmakers of their generation.
Few names in the history of cinema inspire as much awe and respect as Martin Scorsese.
Now in the fifth decade of his all but unimpeachable career, Scorsese has somehow managed to maintain
his fiercely independent vision while cranking out more genuine cinematic masterpieces than,
well, pretty much any filmmaker who's ever lived. The Irishman is Scorsese's 26th feature
film, and it's certain to go down as one of his late-game masterworks.
At three and a half hours, The Irishman is also the longest film of Scorsese's career.
Shockingly, however, it seems the film almost never happened, since most studios apparently
weren't interested in financing a new Scorsese film with Robert De Niro in the lead. Luckily,
Netflix jumped at the chance to add the latest Martin Scorsese picture to their in-house
catalog.
Anchored by a powerhouse turn from De Niro, The Irishman finds the legendary director
in surprisingly subtle form, delivering a melancholic slow-burner of a gangster flick
culled from a real-life story about ruthless mobsters, fractured families, violence, and
betrayal. Yes, The Irishman may look like a typical Martin Scorsese gangster flick,
but rest assured it's anything but. If nothing else, The Irishman is emphatic proof that,
even 50 years into his career, Scorcese still has a few tricks up his sleeve.
Yes, it seems like Netflix ought to be the streaming service of choice for Scorcese fans.
Although today he's a cinematic icon, back in 1976, Scorsese was still a brash young
director who had only just become known as an "up-and-comer." But Taxi Driver is the
film that formally announced Scorsese's arrival in Hollywood, positing the director as both
a radical cinematic stylist and a leading voice in 20th century cinema.
Oh, and it's also the movie that established Robert De Niro as a once-in-a-generation acting
talent, saw a baby-faced Jodie Foster step into the spotlight, and heralded the now legendary
scribe Paul Schrader as one of the best writers in the industry. It also proved a hit with
critics, scored respectable numbers at the box office, and earned a handful of Oscar
nominations to boot.
Today, Taxi Driver is considered one of the most important films ever produced, and it's
more than worthy of that praise. The movie's politically charged narrative feels as vital
in today's climate as it likely did upon release, and the technical skill behind the production
is nothing less than jaw-dropping. Put short: Taxi Driver is essential viewing for anyone
who loves movies.
The Lobster is without a doubt one of the weirdest movies ever made. It's also one of
the funniest, most emotionally devastating movies you'll ever see, and certainly the
funniest and most devastating movie you'll ever see about people desperately searching
for love to avoid being turned into an animal.
Yep, you heard that right. The Lobster takes place in a dystopian near future in which
single people are rounded up and given 45 days to find true love…or be turned into
an animal of their choosing and released into the wild.
So yeah, it's pretty weird, but The Lobster is also a cinematic experience unlike any
other. Colin Farrell and Rachel Weisz both deliver career-best performances, the script
is outright hilarious, and the whole thing somehow comes off as incredibly human and
romantic, even though it often feels like it's totally devoid of either romance or humanity.
The Lobster is like nothing else out there…in the best possible way.
The Death of Stalin is a savage, witty, and outlandish comedy, one that continues to beat
out the competition years after it left theaters. Written and directed by the legendary satirist
Armando Iannucci, The Death of Stalin takes a joyously off-the-wall approach to one of
the most deadly periods in the history of the Soviet Union.
The movie is led by a stellar cast, including Steve Buscemi, Jeffrey Tambor, and Jason Isaacs,
and, thanks in part to an immaculate script, it perfectly captures the horror and absurdity
of life under a totalitarian regime. Special consideration also has to be given to the
movie's superb, bombastic score and a downright terrifying performance from Simon Russell
Beale, who plays one of the most unsettling movie villains of the last decade.
"You have a nice, long sleep, old man. I'll take it from here."
Best of all, however, The Death of Stalin is so jam-packed with subtle gags and witty
one-liners that you're bound to enjoy it just as much on the second, third or even fourth
viewing. And with every new watch, the film's utterly absorbing and mile-a-minute narrative
carries as much dramatic weight as it does on the first.
Hopefully you've seen at least one of Zhang Yimou's Wuxia wonders over the years. But
if you're looking for a gateway into the martial arts director's fantastical cinematic oeuvre,
then look no further than the director's tragically overlooked masterpiece, 2019's Shadow.
Set during China's Three Kingdoms Era, Shadow follows the tale of an impetuous King, a brilliant
Commander, his so-called life "shadow," and a pair of noble women searching for their
rightful place in a war-torn world that has little room for them. And then, at the center
of it all, is a vicious battle over a hugely important walled city. That's basically all
you need to know about Shadow's plot, because the plot isn't really the point. More than
anything, you're better off just sitting back and marveling at the film's awe-inspired photography,
mind-boggling set pieces, and sweeping musical flourishes. And hey, if you get swept up in
the film's incredible, almost Shakespearean narrative twists along the way, well, all
the better.
Though he's been working behind the camera for over 20 years, Paul Thomas Anderson has
made just eight feature films in that time. And while his fans might argue endlessly over
which of his movies is best, Anderson himself appears to have no trouble choosing his favorite.
No, it's not Boogie Nights, or Phantom Thread, or even There Will Be Blood. In fact, PTA's
favorite PTA movie is the brilliant and often-overlooked 2012 cult drama, The Master.
But although The Master is criminally underrated compared to the maestro's other works, there
really is a lot to love in this haunting and emotionally raw character study. The film
follows Joaquin Phoenix's scarred and unstable WWII vet Freddie as he drifts aimlessly through
his post-war life. Fortunes seem to change for Freddie when he meets a charismatic guru,
played by the late Philip Seymour Hoffman, who is spearheading his own spiritual movement.
From there, Anderson and company guide The Master through a twisted tale of fractured
humanity and shifting power dynamics that teeters effortlessly between the weird, the
sexual, the horrific, and the metaphysical. In the mix, Anderson draws career best work
from his cast, and delivers a film more than worthy of adoration from the man who conjured
it.
Few actors have cast as long a shadow over their craft as Daniel Day-Lewis. Thanks to
his fierce dedication to method-acting and his uncanny ability to transform himself body
and soul for each new role, he's become one of the most critically-acclaimed and famous
actors in recent cinema history.
Day-Lewis claimed his second of three Best Actor award for his towering work as There
Will Be Blood's ruthless turn-of-the-century oil man. And frankly, merely calling the Day-Lewis'
performance in There Will Be Blood "towering" seems an understatement, because Paul Thomas
Anderson's film is utterly consumed by Day-Lewis' presence.
The beloved actor's near-mythic work in this movie is so utterly transfixing it's almost
easy to lose sight of Anderson's own mastery throughout. Still, even as the preternaturally
gifted filmmaker willfully puts his actor's scene-devouring turn front and center, he
wisely uses it to bolster what's essentially an epic chamber drama about capitalism run
amok. The movie is as audaciously ambitious as it is inherently insightful, and may just
feature the best work to date from both actor and director.
Over the past few years, Netflix has transformed itself from a streaming service that produces
small-scale passion projects into a legit industry powerhouse, one whose artist-friendly
approach has drawn talents like the Coen brothers, Alfonso Cuaron, and Steven Soderbergh into
the fold. Along the way, it has also become a regular awards season player, even making
a splash at the Oscars in recent years.
Case in point: Noah Baumbach's harrowing relationship dramedy Marriage Story, which was nominated
in six categories at the Academy Awards, including four out of the so-called "Big Five": Best
Picture, Best Actor, Best Actress, and Best Original Screenplay. In the end, it took home
one statue, Best Supporting Actress for Laura Dern.
Baumbach's latest picture also led the pack in terms of nominations at the 2020 Golden
Globes, with Adam Driver and Scarlett Johansson both landing nods for their performances.
And yes, the duo more than earns the praise they've been receiving ever since Marriage
Story made its debut on Netflix. Curious to see what the fuss is all about? Give it a
go and find out.
"Would that it were so simple."
"Would that it 'twere so simple."
"Keep your head still. Would that it were so simple."
"Would that it 'twere so simple."
"Would that it were so simple."
"W-would..I'm trying to say that, Mr. Laurence."
Since bursting onto the scene with 1984's neo-noir stunner Blood Simple, Joel and Ethan
Coen have become poster boys for the Hollywood outsiders who've made it big in showbiz, earning
a handful of Oscars and waves of critical praise to boot. They've also brought their
singular wit and audacious cinematic vision to pretty much every genre under the sun.
Quite often, the Coen brothers have even packed several seemingly disparate genres into the
same film, essentially concocting their own entirely new genres in the process.
But the Coens' uncanny penchant for genre gymnastics has never been so on display as
it is in their immaculate skewering of Hollywood's Golden Age, Hail, Caesar!
"Would that it were so simple."
"Would that it 'twere so simple."
"Would that it were so simple."
"Would that it 'twere so simple."
"Would that it were so simple."
"Would that it 'tweeeere so simple."
"Rueful, rueful, rueful."
Set largely on the backlot of a 1950s movie studio, the movie mainly follows a fixer,
played by Josh Brolin, who goes above and beyond in keeping the studio's multiple stars,
directors, and productions in check.
Hail, Caesar! finds the Coens packing literal representations of every genre they can get
their hands on into a darkly comical, overarching narrative about Cold War anxieties in mid-century
America. While that "everything at once" approach occasionally leaves Hail, Caesar! feeling
a bit unfocused, it still offers ample opportunity for the brothers to show off their razor-sharp
writing and their impeccable taste in actors. And though Hail, Caesar! ranks among the slighter
of the Coens' efforts, it also remains one of their most misunderstood, and, to some
fans, even one of their best.
"Would that it were so simple."
"Would that it-would that it 'twere so simple."
"Why are you doing this?"
"Would that it 'twere..."
"Just keep still!"
After his debut with 2011's marvelously twisted horror Kill List, Ben Wheatley has crafted
one of the more colorful resumes in showbiz. He followed his breakout with the psycho-killer
romantic romp Sightseers, the psychedelic period horror A Field In England, and the
stunning, socially-conscious satire that is 2015's High-Rise.
With such a wildly varied slate of films keeping his fans decidedly off balance, Wheatley followed
the success of High-Rise by once again switching speeds with 2016's action-packed, crackerjack
crime farce, Free Fire. Undoubtedly his highest-profile film to date, Wheatley had no doubt earned
the right to indulge himself with a little bombast, but Free Fire went big in totally
unexpected ways.
In fact, with Free Fire, Wheatley went pretty much off-the-wall nuts, casting an impressive
slate of actors and throwing them into a viper pit of a narrative in ways that really have
to be seen to be believed. Following an arms deal gone wrong, the entirety of Free Fire's
90-minute runtime unfolds in real time in just a single location, and is mostly taken
up by a single, epic gun battle. With whole crates of artillery and ammunition to hand,
that fight is every bit as wild as you'd hope, and makes for one of the more deliriously
brutal, stylish and funny cinematic releases of the last few years.
Though a recent string of critically-acclaimed releases has helped reshape the conversation
surrounding horror movies, the genre on the whole continues to be viewed as slight and
schlocky by snobby cinephiles the world over. Of course, many of those same snobs are quick
to hail Jonathan Demme's 1991 Best Picture winner The Silence of the Lambs as a masterpiece,
even while refusing to acknowledge it as a horror movie at all. But make no mistake,
this is a horror movie to its very core.
"A census taker once tried to test me. I ate his liver with some fava beans and a nice
chianti."
You've probably at least heard of The Silence of the Lambs, because its cinematic legacy
is pretty much unimpeachable. In case you don't know, the film follows an F.B.I. cadet
who becomes ensnared in a manhunt for a sadistic killer. To find her murderer, she turns to
Hannibal Lecter, a brilliant psychologist imprisoned for killing and eating his own
patients.
As the action unfolds, so too does the horror, with Demme crafting an enthralling crime thriller
packed with more gore, jump-scares, and boogey-men than your average slasher flick, and doing
so with the grace and vitality of a bona fide cinematic master.
Perhaps more than any other filmmaker in history, Spike Lee continues to elicit a decidedly
visceral reaction from moviegoers. That's very much by design, too, as Lee's films are
specifically meant to not just push buttons, but to push viewers as far out of their emotional
comfort zones as possible. And whether you love or loathe what Spike Lee brings to cinema,
few can argue against his uncompromising cinematic artistry, or his indefatigable flair for biting
social drama.
Given the state of the world, it should come as no surprise that Lee is pushing boundaries
further than ever. He made serious waves with his searing, racially-charged 2018 thriller
BlacKkKlansman, and Lee got back in the saddle in 2020 with the fevered Vietnam war drama
Da 5 Bloods.
Lee's latest follows a group of Vietnam vets who find themselves back in the country decades
after the war's end to bring home the remains of their fallen brother, and the cache of
gold they'd stored away during combat. Equal parts anti-war drama and action-packed treasure
hunt adventure, Da 5 Bloods explores these men in both timelines as they struggle with
fighting a war for a country that, even decades later, all but refuses to recognize their
sacrifice. Yes, Da 5 Bloods is as politically and socially motivated as any film Spike Lee
has ever made. And it's also a daring, devastating document of the Black experience that, frankly,
demands to be seen by as many folks as possible.
The last half-decade hasn't exactly been one to remember for Johnny Depp. It hasn't been
a banner few years for his frequent collaborator Tim Burton, either. But no matter how far
the duo's legacies might have slipped of late, they're still likely to go down as one of
the most creatively congruous director-actor combos in movie history.
That statement would ring true even if you accounted for Depp's and Burton's collaborations
in the 90s alone. They kicked off the decade with the enigmatic suburban satire Edward
Scissorhands, following it up with the lovingly twisted biographical dramedy Ed Wood, and
then closed the decade out with what might be the most underrated example of their shared
cinematic talents.
This was 1999's Sleepy Hollow, which found both actor and director delivering a bold
re-imagining of Washington Irving's iconic tale of terror "The Legend of Sleepy Hollow,"
perhaps better known as the tale of the Headless Horseman. In the hands of Burton and Depp,
that classic story becomes a hyper-stylized steampunk nightmare, one that transforms the
cowardly Ichabod Crane into a cunning turn-of-the-century constable, who is dispatched to the titular
town to solve a series of grisly murders in which victims are left without their heads.
Yes, this story is exactly as thrilling, gory, and glorious as you might think. And even
if you are familiar with the well-trod lore behind Sleepy Hollow, it's a sure-fire guarantee
that you've never before seen it told quite like this.
For film fans of a certain temperament, Charlie Kaufman's name elicits pangs of pure cinematic
bliss. Luckily for them, his latest movie debuted on Netflix in the waning days of summer
2020.
For those new to Charlie Kaufman's work, you probably ought to know that you're entering
a world rife with emotional turmoil, tragically flawed characters, and wild metaphysical quandaries.
Kaufman's movies also burst at the seams with rapturous and often soul-crushing humanity,
and the writer-director's new film I'm Thinking of Ending Things is as twisted and soulful
as anything he's ever done.
It's difficult to explain what I'm Thinking of Ending Things is about, because Kaufman's
latest is quite literally about everything. The film follows a young woman hitting the
road with her newish partner to meet his parents for the first time. And from that deceptively
simple setup, Kaufman delivers a stylishly ambitious, emotionally raw cinematic odyssey
that's wonderfully weird and esoterically eerie in ways you just have to see to believe.
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