Good Movies on Netflix: Here Are the Top 10 Netflix Movies for You!

The best Netflix movies can be difficult to find, but we are unlikely to run out of great films anytime soon.

There’s a lot to choose from on Netflix, whether you’re looking for the best action movies, best horror movies, best comedies, or best classic movies. We’ve updated the list for 2022 to reflect the departure of great films while highlighting unseen excellence.

Rather than spending your time scrolling through categories, trying to find the perfect film to watch, we’ve done our best at Paste to make it easy for you by updating our Best Movies to Watch on Netflix list every week with new additions and overlooked films alike.

Here are the top 10 Netflix movies available right now:

10. Bonnie and Clyde

Year: 1967
Director: Arthur Penn
Stars: Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman

There was a brief period in American film history just after the general public grew tired of the mundane, cloying dramas and comedies of the 1960s, but before studios discovered the lucrative benefits of franchises like Jaws and Star Wars that could pile sequel upon sequel.

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Rake in merchandise proceeds, and guarantee a steady flow of big money regardless of artistic merit. During that strange little interval, studio executives had no better idea than to throw money at talented directors and hope for the best.

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Movies like Arthur Penn’s Bonnie and Clyde have a gritty realism that is as clever and wise as the French New Wave, but it is infused with the freewheeling American spirit that hasn’t yet been suffocated by a corporate agenda. Ryan, Shane

9. Apocalypse Now Redux

Year: 1979
Director: Francis Ford Coppola
Stars: Martin Sheen, Marlon Brando, Robert Duvall, Dennis Hopper, Laurence Fishburne

Let us invoke Truffaut because his spirit feels as pertinent to a discussion of Francis Ford Coppola’s bleak adaptation of Joseph Conrad’s Heart of Darkness as it does to a discussion of a war film like Paths of Glory, and to thinking about war films in general.

If we take Truffaut at his word, Apocalypse Now (and its remastered version with 49 more minutes of footage, which is currently streaming on Netflix) can’t help but endorse war simply by recreating it as art.

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Perhaps this does not prevent the film from conveying Coppola’s driving theses: War transforms men into monsters, propelling them into a primal, lawless state of mind, and war is itself hell, an ominous phrase that has become a cliché as a result of its overuse between 1979 and today.

If the film implicitly endorses war through its depiction, it does not endorse war’s impact on the humanity of its participants. Indeed, Apocalypse Now is one of the most powerful depictions of the corrosive effect that state-sanctioned violence has on a person’s spirit and psyche.

It’s cute that we’re OK with quoting this movie in gratingly bad AT&T commercials or repurposing its period backdrop to make King Kong happen for contemporary audiences for the second time, but there’s nothing cute, or even all that quotable, about it.

Apocalypse Now sears, sickens, and scars our memories in the way that only the most heinous displays of human depravity can. Andy crump

8. Full Metal Jacket

Year: 1987
Director: Stanley Kubrick
Stars: Matthew Modine, Lee Ermey, Vincent D’Onofrio, Adam Baldwin

Full Metal Jacket’s worth, in my opinion, extends only as far as its first half and then declines as the film devolves into conventionality. However, the second chapter of Stanley Kubrick’s Vietnam horror story is responsible for establishing the conventions by which we can judge the film in retrospect

And even conventional material delivered by an artist like Kubrick is worth seeing: The back half of Full Metal Jacket is, overall, pleasingly gripping and dark, a naked portrait of how war changes people in contrast to the military culture depicted in the front half.

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Being subjected to debasement on a regular basis will split a person’s mind in half. Being forced to kill another person will destroy their soul.

There’s nothing about Full Metal Jacket that doesn’t work or convey Kubrick’s point, but there’s no denying how memorable its pre-war sequence is, thanks in large part to R. Lee Ermey’s unforgettable performance as the world’s most terrifying Gunnery Sergeant. Andy Crump’s

7. She’s Gotta Have It

Year: 1986
Director: Spike Lee
Stars: Tracy Camila Johns, Spike Lee, John Canada Terrell, Tommy Redmond Hicks

She’s Gotta Have It, shot like a documentary, is a levelheaded exploration of a young black woman named Nola (Tracy Camilla Johns) trying to decide between her three male lovers, while also flirting with her apparent bisexuality, in order to, first and foremost, figure out what makes her happy.

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What’s refreshing about the film is that Lee constantly suggests that “none of the above” is a perfectly viable option for both Nola and single women—a game-changer in 1986. The film’s in-your-face realism is enhanced by the DIY indie grainy black-and-white cinematography. —Ege Kozak, Oktay

6. Uncut Gems

Year: 2019
Directors: Josh Safdie, Benny Safdie
Stars: Adam Sandler, Julia Fox, Eric Bogosian

Howard Ratner (Adam Sandler), the proprietor of an exclusive shop in New York’s diamond district, does well for himself and his family, but he can’t help but gamble compulsively, owing a significant amount to his brother-in-law Aron (Eric Bogosian, malevolently slimy).

Still, Howard must balance other risks: his payroll includes Demand (Lakeith Stanfield), a client and product finder, and Julia (Julia Fox, an unexpected beacon amidst the storm in her first feature role), a clerk with whom Howard is having an affair, “keeping” her comfortable in his New York apartment.

Except his wife (Idina Menzel, pristinely jaded) is clearly sick of his shit, and in the meantime, he’s got a special delivery coming from Africa: a black opal, the stone we met in the film’s first scene, which Howard estimates is worth millions.

Then Demany brings Kevin Garnett (as himself, keyed so completely into the Safdie brothers’ tone) into the shop on the same day the opal arrives, inspiring a once-in-a-lifetime bet for Howard—the kind that’ll square him with Aron and then some—along with a slew of new crap to sort out.

It’s undeniably stressful—really relentlessly, achingly stressful—but the Safdies seem to thrive in anxiety, capturing the inertia of Howard’s life, and the innumerable lives colliding with his, in all of its full-bodied beauty.

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Howard reveals to Garnett his grand plan for a big payday just before a game, explaining that Garnett understands, right? That guy like them is tuned into something bigger, operating on a higher frequency than most, and that this is how they win.

He could be on to something, or he could be pulling everything out of his ass—either way, we’ve always known Sandler was capable. This could be exactly what we were thinking.

5. A Nightmare on Elm Street

Year: 1984
Director: Wes Craven
Stars: Heather Langenkamp, Robert Englund, John Saxon, Johnny Depp, Ronee Blakley, Amanda Wyss, Nick Corri

A Nightmare on Elm Street is arguably the most complete and perfectly polished original instalment of the big three slasher franchises—Halloween, Friday the 13th, and this.

No doubt, this is due to the fact that Wes Craven had the opportunity to watch and be influenced by the brooding Carpenter and the far more shameless and tawdry Cunningham in several F13 sequels.

What emerged from that concoction of influences was a killer with the invincibility of Myers or Voorhees, but with a dash of Craven’s own demented sense of humour.

That’s not to say Freddy Krueger (Robert Englund) is a comedian—at least not in the first Nightmare, where he’s presented as a serious threat, and a genuinely terrifying one at that, rather than the self-parodying pastiche he’d become in sequels like Final Nightmare.

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But his gleeful approach to murder and subsequent gallows humour make for a very different breed of a supernatural killer, and one that proved extremely The film’s simple premise of tapping into the horrors of dreaming and dubious reality was like a gift from the gods presented directly to the artists and set designers.

Who was given carte blanche to indulge their fantasies and create memorable set pieces unlike anything else seen in the horror genre up to that point? It’s a nightmare full of morbid humour and bad dreams. —James Vorel

4. I Am Not Your Negro

Year: 2017

Director: Raoul Peck

Raoul Peck focuses on James Baldwin’s unfinished novel Remember This House, which would have honoured three of his friends: Martin Luther King Jr., Malcolm X, and Medgar Evers. All three black men were assassinated within five years of each other.

And we learn in the film that Baldwin was not only concerned about these losses as terrible blows to the Civil Rights movement but also deeply cared for the men’s wives and children. The film is about Baldwin’s overwhelming pain as much as it is about his intellect.

As a result, I Am Not Your Negro is not just a portrait of an artist, but a portrait of mourning—what it looks, sounds, and feels like to lose friends in front of the entire world (and with so much of America refusing to understand how it happened, and why it will keep happening).

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I Am Not Your Negro would have been a success even if Peck had done nothing else but give us this feeling, putting us right in the presence of Baldwin. His decision to avoid the typical documentary format, in which respected minds comment on a subject.

Creates a sense of intimacy that is difficult to achieve in films like this. The pleasure of simply sitting with Baldwin’s words is exquisite. There is no interpreter, no one to explain Baldwin except Baldwin—and that is exactly how it should be. Houston, Shannon M.

3. The Irishman

Year: 2019
Director: Martin Scorsese
Stars: Robert De Niro, Al Pacino, Joe Pesci, Jesse Plemons, Anna Paquin

Peggy Sheeran (Lucy Gallina) observes her father, Frank (Robert De Niro), packing his suitcase for a business trip through an open door. Trousers and shirts are tucked and folded neatly against the luggage’s interior.

The ruthless tool of Frank’s trade, the snub nose revolver, is loaded. He has no idea his daughter is staring at him; she is naturally quiet and remains so for the majority of their adult interactions. He closes the case. She vanishes behind the closed door.

Her verdict lingers. The scene occurs one-third of the way through Martin Scorsese’s new film, The Irishman, named after Frank’s mob world moniker, and is replayed in the film’s final shot, as Frank sits on his nursing home bed, old, decrepit, and utterly, hopelessly alone.

Abandoned by his family and bereft of his gangster friends through the passage of time. Perhaps he is waiting for Death, but more likely he is waiting for Peggy (played as an adult by Anna Paquin), who has disowned him and has no intention of forgiving him for his sins.

Scorsese’s moral arbiter is Peggy. She’s a stern judge: The film takes a dim view of machismo as it manifests itself in the realms of mafia and mugs.

When Scorsese’s main characters aren’t scheming or paying off schemes with violent acts, they’re throwing temper tantrums, eating ice cream, or slap-fighting in a desperately pathetic brawl.

This scene is similar to those in Akira Kurosawa’s Drunken Angel and Rashomon: brawls between want tobe roughs who are afraid of brawling but are forced to do so by their own bravado.

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The Irishman spans the years Frank worked for the Bufalino crime family, led by Russell, from the 1950s to the early 2000s (Joe Pesci, out of retirement and intimidating). Working entails murdering some people, muscling others, and even blowing up a car or a building when the situation calls for it.

When he’s not involved in gangland terrorism, he’s at home reading the paper, watching the news, or dragging Peggy to the local grocer to beat him up for shoving her. “I only did what you should have done,” the poor doomed bastard says as Frank drags him out to the street and crushes his hand on the curb.

The Irishman is a work of historical nonfiction that follows Sheeran’s life as well as the lives of the Bufalinos and their associates, particularly those who died before their time (that being most of them). It’s also a portrait of childhood in the shadow of callous brutality, and what it takes for a young girl to find safety in a world defined by bloodshed. Andy Crumps

2. Monty Python and the Holy Grail

Year: 1975
Directors: Terry Gilliam, Terry Jones
Stars: Graham Chapman, John Cleese, Eric Idle, Terry Jones, Connie Booth

It’s unfortunate that the Holy Grail’s ubiquity has dulled some of its lustrous. When we hear words like “flesh wound,” “ni!” or “huge tracts of land,” our first thoughts are often of having entire scenes repeated to us by clueless, obsessive nerds.

Or, in my case, as a clueless, obsessive nerd, repeating entire scenes to people. However, if you try to separate yourself from the over-saturation factor and revisit the film after a few years, you’ll find new jokes that feel as fresh and hysterical as the ones we’re all familiar with.

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The most densely packed comedy in the Python canon is Holy Grail. There are numerous jokes in this film, and it’s surprising how quickly we forget that given its reputation.

If you’ve had enough of this movie, watch it again with commentary and discover the second level of appreciation that comes from the inventiveness with which it was made.

It doesn’t look like a $400,000 film, and it’s fun to figure out which of the gags (like the coconut halves) arose from a need for low-budget workarounds.

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The first-time collaboration between onscreen performer Terry Jones (who only directed sporadically after Python broke up) and lone American Terry Gilliam (who prolifically bent Python’s cinematic style into his own unique brand of nightmarish fantasy) moves with surreal efficiency. —Gary Techler

1. The Departed

Year: 2006
Director: Martin Scorsese
Stars: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin

Scorsese’s ambitious gangster film, at times truly hilarious and at others brutally violent, spends equal time exploring the deceitful inner workings of the Boston Special Investigation Unit and its pro-crime counterpart, the Frank Costello-led Irish mafia.

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The director’s first gangster film, set in Boston, earned him his first Best Picture Oscar. The gangster drama, a remake of the Hong Kong thriller Infernal Affairs, features an all-star cast including Matt Damon, Leonardo DiCaprio, and Jack Nicholson, and upholds the optimum qualities of a classic Scorsese film: style, morality, and grit. Roark, David

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