Rather than spending your time scrolling through categories, trying to find the perfect film to watch, we’ve tried to make it easy for you at Paste by updating our Best Movies on Netflix list each month with new additions and overlooked gems alike, bringing you our favorites from across genres: Oscar- winning dramas, classics, independent and art- house films, action blockbusters, documentaries, comedies, sci- fi flicks and animated movies for both kids and adults. Along with the classics, Netflix now even has a handful of our 5. Best Movies of 2. For extensive guides to the best movies on other platforms like HBO, Amazon Prime, Hulu, Showtime, Redbox, On Demand, You. Tube, Shudder and The Best Movies in Theaters, visit the Paste Movie Guides. You can also check out our genre- specific lists: The 5. Best Comedies on Netflix, The 6. Best Dramas on Netflix, The 6. Best Action Movies on Netflix, The 2. Best Sci- Fi Movies on Netflix, The 5. Best Documentaries on Netflix, The 7. Best Horror Movies on Netflix, The 5. Best Romantic Comedies on Netflix, The Best Independent Movies on Netflix, The 2. Best Animated Movies on Netflix, The 4. Best Foreign- Language Films on Netflix, The 2. Best Martial Arts Movies on Netflix, The Best Classic Movies on Netflix, The Best Movies of the 1. Netflix. Here are the 1. Netflix in July 2. The Commitments Year: 1. Director: Alan Parker The Commitments might’ve single- handedly created the working classic Irish musician genre. It’s hard to watch Sing Street or Once (whose star, Glen Hansard, also appears in The Commitments) without thinking back to this movie about a blue- eyed soul band in Dublin and their struggles to stay together despite community indifference and regular in- fighting. It’s a drama no doubt, but there’s also tremendous humor here, and an uncommon degree of warmth and humanity. Honeytrap Year: 2. Director: Rebecca Johnson. At the beginning of (and throughout) every month, Netflix Streaming adds new movies and TV shows to its library. Here is a quick list of several that you might be. Netflix will add and remove several items from its library in the new year. Find out what's leaving in January 2016. Photo: Netflix. Based on a true and tragic story, Honeytrap tells of a young and naive teen from Trinidad who moves to London to live with her mother for the first time since her childhood. We know Layla’s desire—desperation, really—to fit in with the Brixton crowd is going to end badly, but Jessica Sula’s portrayal makes the character’s seemingly simple- minded moves feel completely relatable. Not unlike the beautiful French film, Goodbye First Love, Honeytrap takes young love and its oft accompanying obliviousness very seriously. When Layla chooses the (ahem, wildly attractive) bad guy over the good guy, and finds herself unable to walk away from an abusive relationship, we can’t help but identify with her because writer- director Rebecca Johnson has taken care to show how Layla’s decision- making is informed by both familial strains and a culture that celebrate hyper- masculinity. But it’s the end of the film that delivers a powerfully shocking blow—one that will make you wholly relieved that your days of teenage love are (hopefully) far behind. Train to Busan Year: 2. Director: Yeon Sang- ho. Welcome to Stream Sidekick! We are a streaming fan site that specialize in bringing you the latest news, releases and title updates on Netflix and Hulu. January’s almost over, and when the calendar rolls over to February, there will be a whole new batch of movies and TV shows coming to Netflix for your streaming. The "net" in Netflix might as well stand for "network." The streaming service built up a following for its original programming with House of Cards, made us glad that. Everything Coming to (and Leaving) Netflix in June. Start planning your summer weekends accordingly. Let’s take a look at the biggest and best action movies of 2016 with a Top 20 countdown. It’s another huge year for superhero movies ( Love them or hate them, zombies are still a constant of the horror genre in 2. And although I’ve probably seen enough indie zombie films at this point to eschew them from my viewing habits for the rest of my life, there is still usually at least one great zombie movie every other year. In 2. 01. 6, that was Train to Busan, a film that I sadly hadn’t yet seen when I wrote the 5. Best Zombie Movies of All Time. There’s no need for speculation: Train to Busan would undoubtedly have made the list. This South Korean story of a career- minded father attempting to protect his young daughter on a train full of rampaging zombies is equal parts suspenseful popcorn entertainment and genuinely affecting family drama. It concludes with several action elements that I’ve never seen before, or even considered for a zombie film, and any time you can add something truly novel to the genre of the walking dead, then you’re definitely doing something right. With a few memorable, empathetic supporting characters and some top- notch makeup FX, you’ve got one of the best zombie movies of the past half- decade. Deep Water Year: 2. Directors: Jerry Rothwell, Louise Osmond. Louise Osmond and Jerry Rothwell’s 2. Deep Water feels like an homage: to sailing, to the sea, to adventure, to vindaloo paste, but mostly to the unknown. In it, Osmond and Rothwell, with narrative help from friends and then—sure—Tilda Swinton, chronicle the 1. Sunday Times Golden Globe yacht race, wherein nine of the world’s best sailors, plus one large- hearted electronics engineer named Donald Crowhurst, pretty much the definition of a “weekend sailor,” set out to circumnavigate the globe. They started in the UK, went south and around the Cape of Good Hope, across the Indian Ocean, around Cape Horn, and then back across the Atlantic to complete the loop. It was supposed to take about nine months. Instead, Crowhurst’s story found incomprehensible tragedy—and weirdness. While Deep Water often trumps melodramatic musical cues and interstitial vignettes even Errol Morris would call cheesy, pushing the narrative into heartrending territory the story itself could easily attain on its own, long passages of screen time are devoted, just as simply, to staring at the sea. Like Herzog’s seemingly interminable shots of whitewater on the Amazon in Aguirre, the viewer is expected to hold her gaze. It’s a hypnotic sight; it’s also simultaneously overwhelming and calm, vicious and passive, loud and susurrate to the point of silence. In that middle ground, between poles (or, rather, where two ends meet, at both the end and the beginning), there is the terror of the unknown. There is this ocean and that ocean and thousands of miles of incomprehensible vista between. The Big Short Year: 2. Director: Adam Mc. Kay The Big Short, Adam Mc. Kay’s kaleidoscopic look into the months leading up to the 2. And rightfully so—the amount of callous thievery characters uncover here is enough to make any rational person’s blood boil. It’s also, unquestionably, a funny film, tempering its acerbic leanings by highlighting just how blatantly surreal the whole ordeal truly was. Mc. Kay looks to counteract the inherently dry, impenetrable subject matter on display with boatloads of vibrant, cinematic style. The Big Short may not always succeed, but it stands as an essential film nonetheless. Zootopia Year: 2. Directors: Byron Howard, Rich Moore, Jared Bush. It says a lot about the state of America’s cultural dialogues on acceptance and discrimination that a Disney movie feels this urgent, but maybe a movie about animals living under the impression of harmony is a long- term solution for our short- term failures. Then again, we’re talking about a cartoon where TV’s Snow White teams up with Michael Bluth in a sort- of riff on 4. Hours that expands to include references to The Godfather and Breaking Bad. Zootopia is smart in the way it approaches race relations, if unsophisticated and childish. But there are worse things a children’s movie can be than childish, and in Zootopia that word sheds its pejorative implications and instead feels befitting in its innocence. The story takes place in the sprawling zoological metropolis of the title, a place where beasts of all makes and models—large and small, meek and ferocious—somehow manage to coexist in an approximation of civilized society. This is a movie that’s all about big, heartfelt honesty between its principals and its audience. Simple though its politics may be, the film is effective—and coming from a mainstream studio, it is even just daring enough to make a difference. The Wailing Year: 2. Director: Na Hong- jin. The U. S. There is wailing to be heard here, and plenty of it, but in two words Na coyly predicts his audience’s reaction to the movie’s grim tableaus of a county in spiritual strife. Though The Wailing ostensibly falls in the “horror” bin, Na trades in doubt and especially despair more than in what we think of as representing the genre. He isn’t out to terrify us—he’s out to corrode our souls, much in the same way that his protagonist’s faith is corroded after being subject to both divine and infernal tests over the course of the film. You may not leave the film scared, but you will leave it scarred, which is by far a more substantive response than naked fear. Christine Year: 2. Director: Antonio Campos. Why did TV journalist Christine Chubbuck take her life on camera in 1. The brilliance of this Antonio Campos drama is that it tries to answer that question while still respecting the enormity and unknowability of such a violent, tragic act. Rebecca Hall is momentous as Christine, a deeply unhappy woman whose ambition has never matched her talent, and the actress is incredibly sympathetic in the part. As we move closer to Christine’s inevitable demise, we come to understand that Christine isn’t a morbid whodunit but, rather, a compassionate look at gender inequality and loneliness. Tower Year: 2. 01. Director: Keith Maitland. The 1. 96. 6 University of Texas clock tower shooting ought to be a footnote in American history and not a reference point for contemporary national woes. That Tower, documentary filmmaker Keith Maitland’s animated chronicle- cum- reenactment of that massacre, should feel as relevant and of the moment as it does, then, is startling, or perhaps just disheartening. It was 5. 0 years ago this past August that Charles Whitman ascended the university tower with a cache of guns, killed three people inside, and went on to kill another 1. Back in those days, a public act of violence on this level was an anomaly piercing the veil of our sense of security. Today, it’s just Sunday. Tower wraps the horror Whitman wrought in a rich, rotoscoped blanket, the vibrancy of Maitland’s palette lending urgency and vitality to the horror he and his cast recreate on screen. Paris is Burning Year: 1. Director: Jennie Livingston. Madonna’s “voguing” phase has nothing on—that is, took everything from—the drag scene of 1. New York City chronicled in this vibrant doc. What’s New on Netflix Streaming This Month: January 2. Drinking Buddies. Photo: Magnolia Pictures. At the beginning of (and throughout) every month, Netflix Streaming adds new movies and TV shows to its library. Here is a quick list of several that you might be interested in. Some of these were added halfway through, or near the end of, December, but we’re going to include them in this roundup anyway, since you may have missed them. Some of these may also have previously been on Netflix, only to have been removed and then added back. Feel free to note anything we’ve left out in the comments below. Drinking Buddies touts name stars — Olivia Wilde, Jake Johnson, Anna Kendrick — but Swanberg spins the cheeky banter and relationship- clashing with unexpected casualness. It’s messy, it’s funny, it’s familiar, and it’ll make you want to grab a beer. American Psycho. Go back in time to the year 2. Bret Easton Ellis dominated Twitter with plugs for The Canyons, before a Doctor Who alum signed on to sing and dance as Patrick Bateman, before Mila Kunis starred in a completely misguided, horror- tinged sequel. Pop culture has had its way with American Psycho over the years, but Mary Harron’s adaptation remains a razor- sharp satire, sporting one of Christian Bale’s best performances and the only movie scene I can think of featuring a kitten- hungry ATM. The Brady Bunch Movie and A Very Brady Sequel. Someone in Hollywood thinks a Gilligan’s Island movie is golden idea. The Brady Bunch movies give us at least a bit of hope. Throwing caution to the wind, the two seventies sitcom adaptations posit how the squeaky- clean Bradys would function in modern society. Both movies are a thousand times better than they sound on paper, to the degree that one can’t help but wonder if “Sunshine Day” is actually a great song. The Grapes of Wrath. John Ford’s adaptation of the classic novel is a love letter to the working class and the diversity of America’s landscape. Henry Fonda’s naturalistic turn as protagonist Tom Joad allows Ford to go wild with his cinematic language, the director bouncing seamlessly from stark reality to shadowy expressionism in order to wring every bit of poeticism out of Steinbeck’s visual language. Big Trouble in Little China. We deserve weirder blockbusters. Pacific Rim was a step in the right direction, but it doesn’t compare to a truck driver warding off magic- endowed kung fu soldiers with an uzi. Kurt Russell stars in Big Trouble, a wacked- out action movie that director John Carpenter insists was his throwback to zingy romances like His Girl Friday. Because if you’re going to collide every genre under the sun, you go all the way. The Apartment. Billy Wilder’s dramedy, starring Jack Lemmon as a lowly office drone reignited by the object of his affection (Shirley Mac. Laine), took home the Best Picture Oscar in 1. Today, it’s hard to imagine a movie so sweet, so intimate, and so character- driven duking it out with the blockbuster- size prestige pictures. If you have never taken the leap into Wilder’s oeuvre, this is an ideal entry point. Mommie Dearest. Faye Dunaway’s zany interpretation of actress Joan Crawford recalls the catchphrase of Jon Lovitz’s SNL character Master Thespian: “AAAAACTing!” Mommie Dearest is one of the few camp classics that continues to be worthy of the so- bad- it’s- good label, with Dunaway’s “No wire hangers!” being the tip of the over- the- top iceberg. New Seasons of TV: Being Human (Season 3)Dexter (Season 5–8)Murder, She Wrote (Seasons 1–1. Maron (Season 1)Torchwood: Miracle Day. Alfred Hitchcock Presents (Season 1)Turbo FAST (Season 1, Netflix exclusive)Also Available: The Act of Killing (one of our 1. All the Boys Love Mandy Lane. Women (Robert Altman film)Hotel Rwanda. Akeelah and the Bee. Amelie. The Amityville Horror (1. As I Lay Dying. Beverly Hills Cop IIIBig Star: Nothing Can Hurt Me. Breakfast at Tiffany’s. Bull Durham. Bulletproof Monk. Changing Lanes. Children of a Lesser God. Control Room. The Day the Earth Stood Still. Days of Thunder. Escape from Alcatraz. Ghost. Ghost Dog: The Way of the Samurai. Good Burger. The Guilt Trip. Hansel & Gretel: Witch Hunters (available Jan. Harlem Nights. The Haunting in Connecticut. The Iron Lady. Jacob’s Ladder. Jack Reacher. Juice. Kevin Hart: Let Me Explain. The Last Stand (available Jan. Mouse Hunt. Narc. Ninja 2. The Ninth Gate. Planes, Trains, and Automobiles. Play It Again, Sam. Raging Bull. Red Dawn (1. Reindeer Games. Saved! Scrooged. Some Like It Hot. Spaceballs. Stand Up Guys. Star Trek: The Motion Picture. Texas Chainsaw 3. D (2. 01. 3)Thelma and Louise. Tora! Tora! Una Noche. The Virgin Suicides. What’s Eating Gilbert Grape. West Side Story. What Movie Should You Stream this Weekend? Replay Our Live Chat with Our Critics' Suggestions.
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