The whole volume of movies on Netflix and the website’s less ideal interface can make finding a cool video a problematic task.
To help you out, we’ve picked out the top 10 movies currently airing on the U.S. service, regularly updated as titles come and go.
And as a bonus, we’ve teamed up with some great Netflix movies in most of the reviews below.
Table of Contents
- The Old Guard (2020)
- Jupiter Ascending (2015)
- Karate Boy (1984)
- Da 5 Bloods (2020)
- Lady Bird (2017)
- American Factory (2019)
- Roma (2018)
- Private Life (2018)
- Atlantic (2019)
- Moonlight (2016)
The Old Guard (2020)
The Old Guard (2020) is an American film directed by Gina Prince-Bythewood, written by Greg Rucka and establish on the comic book of the same name.
Charlize Theron, Matthias Schoenaerts, KiKi Layne, Marwan Kenzari, Luca Marinelli, Harry Melling, Van Veronica Ngo, and Chiwetel Ejiofor accompany a team of immortal mercenaries on a mission of revenge.
The Old Guard was publicized on July 10, 2020, on Netflix. Overall, she received positive reviews from critics, with praise for Theron’s action sequences and acting.
Jupiter Ascending (2015)
Jupiter Ascending is one of those “terrible” movies that could be good.
Yes, Channing Tatum is a werewolf, and Mila Kunis is a space princess, and bees don’t drink space royalties, and Eddie Redmayne is screaming that she doesn’t know the “harvest” of people, but it what makes this movie great is the way these things have in total.
And absolute meaning in the context of the story.
Karate Boy (1984)
John G. Avildsen, director of “Rocky,” returns to the fertile land of endangered sports history with this sweet and inspiring story of an abusive high school student (Ralph Macchio) and his friendship with an eccentric maintainer (Pat Morita) who teaches you martial arts.
Avildsen has the sports movie products we’ve been waiting for: Tease the Villain, Hard Training, Big Chances, and Big Showdown (with another shocking score from “Rocky” composer Bill Conti).
But the bosom of the film lies in the teacher-student relationship and the unexpected comedic sparkle of Morit’s Oscar-nominated performance.
Da 5 Bloods (2020)
Spike Lee’s latest is a combination of a war film, protest film, political thriller, character drama, and graduate story in which four African-American Vietnam veterans return to the jungle to unearth the remains.
Of a murdered compatriot. And like them the forgotten cache of stolen war gold. On the other hand, it could be a classic cast image or an action/adventure in the style of “Rambo” (and those elements, to be clear, are exciting).
But Lee further combines the film with historical references and subtext, explicitly drawing lines from the civil rights struggle of today to the protests of our time.
Lady Bird (2017)
Greta Gerwig made her debut as a solo director with this entertaining and insightful story of the Transitional Age set in her hometown of Sacramento, California.
Saoirse Ronan is blinded in the lead role by a quietly rebellious high school student, whose search for love and popularity leads to resentment from her mother (Laurie Metcalf, Belle).
Parent-child conflict isn’t new to teenage stories, but Gerwig’s insightful script has intersected common types and tropes, daring to create complex and flawed but deeply understandable characters.
American Factory (2019)
Documentary makers have long been fascinated by the logistics and complexity of commerce. Still, Steven Bognar and recent Oscar winner Julia Reichert for Best Picture examine these issues through the lens of 21st-century resolution.
Centered on a closed G.M. plant in Dayton, Ohio, taken over by Chinese glassmakers Bognar and Reichert, they ponder, reflect (often jokingly) on how cultures collide, in business and in general.
Manohla Dargis calls it “a complex, moving, the timely and beautifully expansive continent that encompasses the past, present, and possible future of the American workforce.”
This part of Alfonso Cuarn’s life and evocative memory is the story of two Mexican women from the early 1970s: Sofia (Marina de Tavira), a four-year-old mother with whom her husband (and donor) is in couple, and Cleo (Yalitza, Aparicio), a tutor the children, Housewives, and families.
The scenes are sometimes stressful, often heartfelt, and, no doubt, full of life and emotion. Our review called it “an expansive and emotional portrait of life affected by violent forces and masterpieces.”
Private Life (2018)
Paul Giamatti and Kathryn Hahn shine as two creative types from New York, whose attempts to start a family by adopting, imbibing, whatever it is, tests the feeling of your relationship and your health.
Director Tamara Jenkins’ smart script is not only entertaining and accurate but also tailored to her specific world. Several films have a better understanding of the public nature of marriage issues in New York City when every crisis is seen interrupting passers-by and the curious. -loos.
“Privacy,” which our reviewer calls “spicy and perfect,” is a miraculous act of compassion and cynicism, dealing with topics and enough knowledge of their flaws to make them laugh and laugh at them.
The hero of the Cannes Film Festival Grand Prize, Mati Diop, takes place in Senegal, where a young woman named Ava (Mama San?), a few days before marrying another man, loses the son she loves.
What begins as a love story loses its movement, with the ease and imagination of a particularly pleasant dream, into something many strangers, for Diop with elements of genre cinema, operates in a story that does not seem to adapt.
A.O. Scott called it “an enthralling, sensual, thrilling film, and therefore a disturbing film.”
The Hero of the 2017 Academy Award for Best Picture, this triptych about a young African American girl growing up in Miami, is a discreet discovery of work, research, and challenges to modern understandings of masculinity, family, power, and love.
Director Barry Jenkins (an adaptation of the play Tarell Alvin McCraney) creates a world so dense in detail and rich in humanity that every character has a chance to shine; Themes and ideas are everywhere but translated subtly and understandably.
Our reviewer described it as “a song written with light, music, and vivid human faces.”