Netflix Movies To Watch Before It’s Too Late

Netflix Movies To Watch Before It’s Too Late


It can be tough to figure out what to stream
next in Netflix’s vast library, but don’t worry. From incredible underrated gems to timeless
favorites that you haven’t thought about in years, we’ve rounded up the best movies on
Netflix right now. After The Amazing Spider-Man 2 effectively
killed a franchise as we knew it, it came as a bit of a shock when Sony Pictures announced
that they’d be moving forward with their own new Spider-Man project after agreeing sharing
the web-slinger with Marvel Studios. That task seemed all the more daunting when
Spider-Man: Homecoming arrived like the John Hughes Spider-flick we didn’t know we needed. Then came Sony’s animated Spider-Man: Into
the Spider-Verse, which proved that the movie multi-verse was big enough for more than one
Spider-Man not to mention a Spider-Gwen, a Spider-Ham, and a giant anime robot from the
future. Into the Spider-Verse breathed a welcome life
into both the rapidly tiring superhero genre and the stagnating medium of feature animation. That life arrived via Miles Morales, who seeks
to replace the recently deceased Spider-Man of his world, only to discover that there
are several Spider-Folk spread across multiple dimensions, and that a singular threat is
about to disrupt each of their realities. The story, chock full of equal parts drama,
comedy, and heartfelt soul, unfolds in an electrifying visual style designed to literally
bring comic book pages to life. That hearty combination of style and substance
makes Into the Spider-Verse unlike any other superhero flick out there. It’s easy to forget, but prior to 2005’s Batman
Begins, there wasn’t a ton of support behind making a new Batman flick. That had a lot to do with the sour taste Joel
Schumacher’s shamelessly indulgent camp-fest Batman and Robin left in the mouths of Bat-fans
the world over. So when a then-relatively-unknown Christopher
Nolan signed up to bring the Dark Knight’s big screen saga back to its former glory,
it definitely raised a few eyebrows. When Batman Begins finally hit theaters in
the summer of ’05, those eyebrows went from warily raised to wide-eyed with glee almost
overnight. Rather than the neon-drenched visuals and
over-the-top puns, this was the Batman film so many fans had been waiting for a gritty,
action-packed character drama about a troubled young man embracing his inner heart of darkness
in the wake of witnessing his parent’s brutal murder. The fact that said man was Bruce Wayne, played
with equal parts charm and pathos by Christian Bale, and that his heart of darkness led him
to become the vigilante known as Batman, only made the story more intriguing. While Nolan and company packed in plenty of
the white-knuckle action one would expect in any Caped Crusader tale throughout Batman
Begins, the film had an incredible passion for character, particularly Michael Caine’s
pitch-perfect Alfred. “Sir, There’s a problem with the graphic sir. The next 10,000 will be up to our specifications.“ “At least they gave us a discount.” Ultimately, that led Nolan’s Batflick to do
something no other Batman movie had before resonate with viewers on a deeply human level. In 2010, graphic novel fans were excited for
Scott Pilgrim vs. The World, and not just because they liked the source material. The news that the film was to be directed
by Edgar Wright then a burgeoning cult icon hot off the success of Shaun of the Dead and
Hot Fuzz left fans downright impatient for it to arrive in theaters. Wright delivered the goods, crafting an action-packed,
genre-busting romantic comedy with enough razor-sharp wit and eight-bit charm to claim
success. It also featured a hip young cast with scene-stealing
appearances from future MCU stars Chris Evans and Brie Larson. With that pedigree, and reviews to match,
Scott Pilgrim vs. The World seemed destined for box office glory, but sadly, that didn’t
happen. In fact, the film was an outright bomb that
seemed doomed to claim little more than “cult classic” status. Luckily, Wright’s hipster opus found second
life on video, and is now counted amongst the director’s best work. If you’ve been sleeping on that fact, now’s
the time to get into the game. Horror fans are currently enjoying a golden
age of scary cinema. It seems like every single week, a smart,
scary confection is hitting theaters to rave reviews and box office conquest. Sadly, that means that every year, there’s
a buried treasure that goes unnoticed, much like a body stashed in a shallow grave. One of the more overlooked gems of late has
to be the 2016 pseudo-haunted house chiller The Autopsy of Jane Doe, from director André
Øvredal. If you recognize Øvredal’s name, it’s likely
because you saw his 2010 found-footage masterpiece Trollhunter. If you’re wondering why you never heard about
his follow-up, well, the film received virtually no promotion from distributors en route to
its theatrical release and was all but ignored by audiences in theaters. Luckily, Øvredal’s atmospheric creeper has
garnered legit cult-classic status via streaming platforms, so if you’ve yet to experience
the morbid delights within The Autopsy of Jane Doe, there’s no time like the present. Without spoiling anything, the film is part
haunting procedural mystery and part gory, ghoulish fright fest, centered around the
gruesome act of the title. Øvredal makes marvelous use of the film’s
grim, single location, a morgue, and nothing can quite prepare you for the grisly mystery
unfolding within. First published in 2004, the epic, mind-bending
sci-fi novel Cloud Atlas was hailed in some literary circles as a visionary work of speculative
fiction, which, unsurprisingly made many readers believe that it would be totally impossible
to adapt to the big screen. Clearly, nobody told Tom Tykwer or the Wachowskis
that fact, and the adventurous trio set out to bring their sprawling, star-studded, and
unabashedly ambitious adaptation of Cloud Atlas to the world a few years later only
to see the world pretty much ignore it. That was the world’s loss. Set over six different time periods, the film
features a brilliant ensemble cast fronted by Tom Hanks, Halle Berry, Hugh Grant, and
Susan Sarandon, all playing multiple roles throughout. The loosely intertwined narratives start and
stop with little notice, making Cloud Atlas an admittedly challenging slice of experimental
cinema for the blockbuster audience it targeted. And if those elements weren’t enough to scare
that audience off, the film’s almost three-hour runtime was probably enough to seal the deal. “I think you’re gonna love this.” Those brave enough to buy the ticket and take
the supremely wild ride were rewarded with a visionary work of cinematic daring so full
of visual thrills, stark human drama, and complex philosophical ideologies that it could
spin the head of even the savviest of audiences. To those who missed out, we’d wager this marvelous
head-trip of a film will be a bit more digestible in the comforts of your own home. In the summer of 2007, a teaser that ran for
just under two minutes alongside the brand new Transformers film made moviegoers way
more intrigued than any of Michael Bay’s robotic trucks ever did. The unlabeled, inexplicable monster movie
ad from J.J. Abrams and the Bad Robot team had fans buzzing for months to find out the
name of the film it teased, with a groundbreaking viral marketing campaign that ensured they
would stay hooked until the movie was released.. By the time Cloverfield made its premiere
the next January, the fans were beyond fever-pitch. Against all odds, Cloverfield directed with
fevered urgency by Matt Reeves and bolstered by Drew Goddard’s agile scriptingdidn’t just
meet its lofty expectations, it far surpassed them. Reeves and Godard delivered the humane, grounded
monster-movie masterpiece a generation of filmgoers never knew they needed, using a
found-footage style to give the audience a first-person view of the city-stomping kaiju
action. Over a decade later, Cloverfield still packs
the same visceral punch that it did upon release, and remains a fascinating entry point to the
cinematic world-building experiment that led to the underrated 10 Cloverfield Lane and
the compelling disaster that was The Cloverfield Paradox — which, like Cloverfield itself,
are far more rewarding with repeat viewings. In the years since he broke onto the international
film scene in the early 2000s, South Korean auteur Bong Joon-ho has become one of the
most respected filmmakers working today. That’s mostly thanks to one of the most adventurous
filmographies cinema has ever seen. His string of surprises just kept going in
2013 when he adapted a little-known graphic novel called Snowpiercer as his English-language
debut. Though many foreign filmmakers struggle in
adapting their style to American markets, Bong took the challenge in stride, and delivered
one of the more bracingly original sci-fi films of the modern era. Snowpiercer unfolds on a speeding train that’s
spent 17 straight years cutting through a desolate landscape decimated by a failed climate
change experiment, and even amongst this director’s eclectic filmography, it’s one hell of a wild
ride. As with much of Bong’s work, it’s also politically
charged, with climate science in play outside the train and class warfare broiling inside. We wouldn’t dare spoil one wild minute of
this film for those who haven’t seen it, but with an incredible performance by Chris Evans
that gets pretty far from Captain America, things get crazy in ways you cannot fathom. And that’s a very good thing. In the 35 years since Joe Dante’s Gremlins
hit theaters, there’s been an ongoing debate about how the film should be classified. Some think it’s a classic black comedy full
of slapstick violence. Others think it’s a gory horror flick, while
others think it’s a treatise against the commercialization of the holiday season. There are even folks who think it’s the greatest
Christmas movie ever made, for a certain definition of “Christmas movie.” The only thing you really need to understand
about Gremlins is that Gremlins doesn’t give a hoot how you classify it. So yes, Gremlins is a dark comedy. Yes, it’s an anti-commercial Christmas movie. And yes, it’s a classic slice of creature
feature horror to boot, delivering one of the cutest creatures to ever grace the silver
screen in Gizmo, and ingeniously ensuring that the cuter-than-cute creature inadvertently
spawns the murderously grotesque monsters that give the film its name. Look, we aren’t trying to tell you how to
watch Gremlins, as long as you actually watch it. Just know that whether you’re seeing it for
the first time or the twentieth, it’s that rarest of creepy, socially conscious, creature
feature comedies that delivers a few new surprises with every single watch. One of Michael Mann’s earliest claims to fame
came when he leveraged his penchant for tough guy crime tales and his edgy sense of cool
to maximum effect as a key creative force behind smash hit TV series Miami Vice. In the years since that show ended in 1990,
Mann has built a reputation as a visionary cinematic stylist who Martin Scorsese once
called “One of the finest filmmakers in America.” Still, it was a bit of a surprise that, a
quarter century after the show was canceled, Mann signed on to write and direct a big-screen
adaptation of the series. To the surprise of exactly no one, Mann delivered
a slick neo-noir thriller steeped in the suave machismo that made the series a hit, though
he did so sans the “buddy cop” camp that helped soften the edges of the series. Make no mistake, Miami Vice — driven by
a pair of unflappably stoic performances from Jamie Foxx and Colin Farrell — is an almost
absurdly serious film. If you’re willing to buy into that super-serious
tone, though, you’re likely to see it for exactly what it is: a subtly subversive, razor-sharp
crime drama with style and energy to burn, all of which makes it a pitch-perfect entry
into Mann’s already incredible filmography. Of all the noteworthy filmmakers who broke
through in the ’90s, few did so with quite as much verve as Guy Ritchie. The British director made the scene with stylishly
kinetic and laugh-out-loud hilarious caper comedies and delivered what might be his best
work in 2000. Titled simply Snatch, that film saw Ritchie
building on the styles and themes that made his first hit, Lock, Stock, and Two Smoking
Barrels such a refreshing cinematic endeavor. The breakneck cutting, outlandish violence,
and zinging dialogue from low-level criminal losers bungling towards a big score delivered
a devilishly over-the-top crime adventure. It’s a classic crime story complete with a
McGuffin, as the entirety of London’s criminal underground, from bare knuckle boxing promoters
to Russian gangsters, go on the hunt for a priceless stolen diamond. “Ver is tha stoo-one?” “Where is the stone?” In service of bringing this marvelously madcap
diamond dash to life, Ritchie enlisted an impressive A-list cast of U.S. and U.K. players,
including Benicio del Toro and a then relatively unknown Jason Statham, along with tough-guy
footballer turned actor Vinnie Jones and, of course, the big-name star, Brad Pitt. “Hey mam come look at the size of this fella! Bet you box a little, that’s for sure. You look like a boxer!” Pitt’s involvement drew American audiences
to the theater, and as solid as the cast is top to bottom, his miraculous turn as a shifty,
tough-as-nails, nearly incomprehensible boxer absolutely steals the show, and helps transform
Ritchie’s clever genre retread into a crackerjack crime comedy for the ages. Today, Jennifer Lawrence is one of the most
beloved and recognizable stars in Hollywood, but prior to 2010, you would’ve been hard
pressed to find anyone at all who knew her name. If you’re at all familiar with Lawrence’s
meteoric rise to legit superstardom, you know the ascension began when she landed the lead
in the gritty micro-budget drama Winter’s Bone. As good as she’s been in much of her work
since, Lawrence’s performance in Winter’s Bone remains her best. Her raw talent is full on display throughout
this diamond of a film. And we can thank director Debra Granik for
that, who cast Lawrence against type as a dirt poor, tough-as-nails Ozark teen desperate
to find her missing, meth-dealing father. In order to find the missing man, she’s forced
to dive headlong down a rabbit hole full of nefarious, backwoods-dwelling characters who
value their community’s strict code of silence above all else. Chief among them is her enigmatic, addicted
Uncle Teardrop, played by John Hawkes in one of the best supporting performances ever committed
to film, who’s harboring some serious ill will toward his missing brother. “You always have scared me.” “That’s because you’re smart.” To say any more would be to take the sting
right out of this brutal, beautifully brooding little drama, and this is one mystery whose
secrets are worth discovering, and rediscovering, for yourself. Set in a vividly realized, not-too-distant
future, Her follows a kind, lonely man who finds love in a most unexpected place with
an AI-driven operating system named Samantha. On paper, that plot sounds a bit ridiculous,
and in the hands of a lesser filmmaker, it probably would’ve been. With Spike Jonze at the helm, Her’s potentially
silly setup becomes a tenderly observed study of longing for and finding connection in a
tech-obsessed world driven to isolationism. At the center of that world is a transcendent
performance from Joaquin Phoenix, who brings a warmth, wit, and compassion to this role. The supporting roles are fantastic, too, with
a scene-stealing turn from Amy Adams and dynamic voice work from Scarlett Johansson, who makes
a fully developed character of her artificial persona. As a sci-fi film, Her is a towering, deeply
personal achievement in style and substance. As a social document, it’s a visionary reflection
on the world as it likely will be. If you don’t believe that, just ask Alexa
what she thinks. Since breaking into Hollywood with 1984’s
remarkably assured debut Blood Simple, the Coen brothers, Joel and Ethan, have gone on
to produce a near-unimpeachable body of work. Their films have found them working well in
virtually every genre, from slapstick farce to romantic comedy, to elaborate crime stories,
and even the occasional musical numbers. Whatever story they choose to tell, you can
be certain of one thing: the Coens are always going to push to do something they haven’t
done before. Though it features all the staples fans have
seen before, their 2018 Western The Ballad of Buster Scruggs finds the Coens pushing
themselves farther than ever. “First time?” Of course, the thing that most obviously sets
The Ballad of Buster Scruggs apart from the rest of their films is that it’s an anthology
comprised of six short tales of the wild west rather than a single, straightforward narrative. Those six tales are thrilling, and hilarious,
and frequently downright heartbreaking, and feature stellar work from an all-star cast
including James Franco, Liam Neeson, and Tom Waits. Each one is fueled by the sort of mirthful
madness only Joel and Ethan Coen can conjure, coupled with jaw-dropping digital cinematography
and pitch-perfect Western themes from composer Carter Burwell. The Ballad of Buster Scruggs is easily one
of the best movies Netflix has ever produced, and has a good claim on being one of 2018’s
best films. 2018 may or may not have brought an official
end to Robert Redford’s nearly six-decade acting career, but retirement should offer
him a little more time in the director’s seat. That’s a good thing, because Redford’s work
behind the camera has often been as thrilling as his work in front, even earning him an
Academy Award in 1981. In the years since winning that Oscar, Redford
has remained choosy with his directorial efforts, helming only nine movies since. Of those films, 1994’s Quiz Show is arguably
his best work. Set in the ’50s, it tells the true story of
one of television’s most famous scandals. The film follows a working-class man and a
member of one of America’s most prominent families as they face off on the hit TV quiz
show Twenty-One, which was infamously and illegally rigged by the show’s producers,
and eventually exposed by an idealistic government attorney. That may not sound like the blueprint for
a thrilling, character-driven biographical drama about corruption and classism in America,
but that’s just what Redford delivered. Like the story it so elegantly explores, Quiz
Show is almost too intriguing to believe, and remains one of the best films of the ’90s. Check out one of our newest videos right here! Plus, even more Looper videos about your favorite
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Only registered users can comment.

  1. Caine Pitch perfect? I was excited when I heard he was going to be Alfred, but was disappointed when he done it Cockney, definitely not pitch perfect!

  2. I love these Netflix recommendations. I've seen so much stuff thanks to these features. Crazyhead still the best though.

  3. Since I consider myself to have decent tastes, I'm going to say no to all of the movies listed here. I have seen 5 of these movies and regret having wasted my time on all of them. All garbage!

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