24 Must-Watch Movies on Netflix (September 2025): ‘Inglourious Basterds’ and More

“We’re in the business of killing Nazis. And cousin, business is a-boomin.” That’s what Lieutenant Aldo Raine (Brad Pitt) proclaims early on in Inglourious Basterds, but it might as well be Quentin Tarantino letting his audience know what’s in store. The Pulp Fiction director is interested in sticking it to the Nazis in the most violent way possible, and he’ll alter history to do so.

While Raine is an important character, it’s Soshanna Dreyfus (Mélanie Laurent) who is the main protagonist who drives the story. After her family is murdered by Hans Landa (Christoph Waltz), she concocts an elaborate revenge plan that involves burning down a theater that’s set to host Adolph Hitler and his most important military personnel. That includes Landa, but he may be too smart to be duped by Soshanna. Will she avenge her family and kill Landa? And what role does Raine play in all of this?

It’s not hard to understand why Tarantino believes Inglourious Basterds is his masterpiece — it’s a captivating story told brilliantly through a combination of top-notch cinematography, editing and acting, seamlessly blending different genres to make a war movie that’s funny and almost unbearably tense. For what it is, it’s just about perfect, and it’s probably one of the most entertaining films made in the last 20 years.

Reynolds Woodcock (Daniel Day-Lewis) is a perfectionist. He has to be, considering he’s a well-respected fashion designer working in 1950s London who is admired and feared by his peers. When he meets naive waitress Alma Elson (Vicky Krieps), he quickly sees an opportunity for her to become his next model, muse and lover. But what he doesn’t expect is how strong Alma is and how much she won’t stand for his usual mind games. Has Reynolds finally met his match?

If you think Phantom Thread is a film about fashion, think again. Director Paul Thomas Anderson is more concerned with how Reynolds’ relationship with Alma evolves as he tries to break her like his past lovers. Day-Lewis isn’t afraid to play Reynolds as a snobbish, petulant manchild, but he also reveals why his character draws women like Alma to him. He’s impossible to live with, but for Alma, that’s the primary draw. 

She doesn’t excuse his behavior because he’s a sartorial genius — instead, she makes him pay for it. Phantom Thread is one of the most unusual love stories ever told — and arguably one of the most honest, even if the truths it reveals are almost too harsh to take.

Robert Eggers’ recent take on the Dracula legend, Nosferatu, was justly praised for its lush visuals and gothic atmosphere, but as good as that movie is, it doesn’t compare to Bram Stoker’s Dracula. Francis Ford Coppola’s erotic horror romance still captivates after three decades and remains a timeless testament to the power of forbidden love, the horror genre and cinema itself. 

You know the story by now — naive lawyer Jonathan Harker (Keanu Reeves) is imprisoned in Count Dracula’s (Gary Oldman) Transylvanian castle while the ancient vampire pursues his fiancée, Mina Harker (Winona Ryder), whom he believes is the reincarnation of a long-dead lady love. When Mina falls under his spell, Jonathan, vampire hunter Abraham Van Helsing (Anthony Hopkins) and others race against time to save her — and maybe all of humanity.

BSD doesn’t shy away from blood — in one scene, a character practically bathes in it! But it’s also a surprisingly tender love story between a monster and his victim, who doesn’t seem to mind falling for him. The movie still astounds with its breathtaking visuals, bombastic score and Oscar-winning costumes, which all create an intoxicating Old World that still believed in the power of supernatural lore and oral storytelling.

Some great crime thrillers never go out of style, and The Departed is one of them. Irish mob boss Frank (Jack Nicholson) installs one of his men, Colin Sullivan (Matt Damon), in the Boston Police Department to spy on them. At the same time, the police send one of their own, Billy Costigan (Leonardo DiCaprio), deep undercover in Frank’s criminal organization. Both sides realize they’ve been infiltrated, but they don’t know who it is — yet. It’s only a matter of time before both Colin and Billy are found out — the only question left to be answered is whose real identity will be revealed first?

Loosely adapted from the excellent Hong Kong thriller Infernal Affairs, The Departed is one of filmmaker Martin Scorsese’s most entertaining movies. (In a career full of stone-cold classics, he won his only Oscar for this film.) DiCaprio and Damon have never been better as pawns caught in a violent game they can’t escape from, and Nicholson has one of his best late-career roles as an oily criminal kingpin who always comes out on top. The film is tense and unpredictable, with a shocking third-act twist that might make you scream out loud. (I know I did.)

One of the best sci-fi movies ever made is back on Netflix. In Jurassic Park, old rich guy John Hammond (Richard Attenborough) is about to open a theme park with genetically cloned dinosaurs. He invites several experts, including Alan Grant (Sam Neill) and Ellie Sattler (Laura Dern), to make sure everything is safe. But some of the dinosaurs don’t like to be caged, and soon, the park becomes a danger zone they all have to escape from before it’s too late.

From the still-impressive visual effects to the confident direction by Spielberg, Jurassic Park is a masterpiece of blockbuster filmmaking. Inferior sequels and reboots haven’t dimmed the original’s magic, and you’ll still gaze up in awe when you first see the dinosaurs walking across the landscape. Jurassic Park will restore your faith in mainstream movies, even if current films leave a lot to be desired.

Cynical weatherman Phil Connors (Bill Murray) hates his job, and he particularly loathes his latest assignment: covering the annual Groundhog Day festival in Punxsutawney, Pennsylvania. But Phil’s in for a rude awakening when he realizes he’s living the same day over and over again — without end. While he makes the most of his purgatorial existence, he realizes living without consequence is worse than living without meaning — or the love of coworker Rita (Andie MacDowell). 

It’s not hyperbole to claim that Groundhog Day is the funniest movie of the ’90s. Director Harold Ramis milks his movie’s high concept for all it’s worth by placing Phil in one ludicrous situation after another. Murray has his best comedic role ever as the sarcastic Phil, who can’t stand the townies he’s stuck with for eternity. No matter what, after you watch Groundhog Day, you’ll never hear Sonny & Cher’s “I Got You, Babe” the same way ever again.

29 years after Happy Gilmore was released, the cult Adam Sandler comedy finally gets a sequel. In Happy Gilmore 2, Happy (Sandler) and Virginia Venit (Julie Bowen) are now married with kids, with one daughter (played by Sandler’s real-life daughter Sunny) wanting to go to an expensive ballet school. Happy doesn’t have enough money, so he goes back to the sport that made him famous — golf. But does he still have what it takes to win it all and make his daughter’s dreams come true?

The sequel has everything you’d expect from a Sandler Netflix comedy: crude humor, a stacked supporting cast that includes Ben Stiller, Rory McIlroy and Travis Kelce and a disconnect from reality. This isn’t Uncut Gems, but if your expectations are kept low, you’ll enjoy Happy Gilmore 2 for what it is — a fan service sequel that will make you chuckle.

The less you know about Brick, the better, but here’s the set-up: Tim (Matthias Schweighöfer) is having a bad day. His longtime girlfriend, Olivia (Ruby O. Fee), is breaking up with him, and there’s nothing he can do to stop her. But as she packs her bags and opens the front door to exit, something strange happens — she can’t leave. The entire building has been surrounded by a mysterious black brick wall that blocks anyone from exiting. How did it get there? And does it pose a threat, or is it shielding them from whatever is going on outside?

Brick is an original Netflix movie that has a great sci-fi premise. Tim, Olivia and the rest of the building’s residents not only must figure out how to get past the brick wall but also why it’s there in the first place. The wall is seemingly indestructible, so how can they escape? That’s the central question that drives Brick, and why it’s a movie you can’t stop watching.

Woo-sung (Squid Game’s Kang Ha-neul) just bought his first apartment in South Korea and is looking forward to the joys of decorating and making the place his own. But strange noises in the night keep him up, and soon, his new neighbors accuse him of being the source of all the noise — and trouble. Is Woo-sung losing his mind? Or is something more sinister at play in the apartment complex he just moved into?

Wall to Wall is a short (it runs only 84 minutes) but excellent thriller that fully exploits its claustrophobic premise to great effect. You’re never quite sure what’s up with Woo-sung or who he can trust. That’s why every narrative twist is truly a surprise — just when you think you know what’s happening, the movie pulls another rabbit out of its hat. Wall to Wall is so convincing, you may opt to never purchase a home or apartment in your lifetime.

Netflix has a great horror selection, and while Until Dawn isn’t an instant classic, it more than satisfies those who want to see some dim teens getting killed over and over again. 

Based on the popular 2015 PS4 video game, Until Dawn follows five friends, led by Clover (Ella Rubin), as they search for Clover’s missing sister, Melanie (Maia Mitchell). Their investigation leads to Glore Valley, an abandoned mining town that holds many secrets — and mysterious creatures that seemingly kill at night. It will be a miracle if they find Melanie alive — or if they all survive the night that’s filled with danger.

Until Dawn is more ambitious than your average horror flick, with a second-act twist that changes all the rules and adds a slight sci-fi element to the mostly horrific premise. The cast is pretty and expendable,  and there’s enough moody atmosphere to make Until Dawn worth watching late at night in the dark.

The movie that started the summer blockbuster is streaming on Netflix, and it’s just as great in 2025 as it was 50 years ago. In Jaws, a great white shark terrorizes the summer vacationers of Amity Island. When several people are killed by the predatory fish, a ragtag team consisting of police chief Martin Brody (Roy Scheider), marine biologist Hooper (Richard Dreyfuss) and grizzled shark hunter Quint (Robert Shaw) band together to take out the shark once and for all. In this ultimate battle between man versus nature, who will emerge victorious?

From its iconic score by John Williams to its legendary third-act monologue by Quint, Jaws is a classic that hasn’t aged a bit. It’s one of the most suspenseful films of all time, and even if you know what’s going to happen, you’ll still jump out of your seat when it does. That’s due to Steven Spielberg’s superb direction, who never lets up on the suspense while still finding time to develop his three central characters. Jaws is the ultimate summer movie, and also one of the best films ever made.

This new animated movie went instantly viral on Netflix — and with good reason. Its wholly original story about a girl group who use the power of their mystical voices to fight demons is fun, vibrant and heartwarming. Rumi (Arden Cho), Mira (May Hong) and Zoe (Ji-young Yoo)’s capacity for kicking demon butt is matched only by their appetite for delicious snacks. T

hey’re instantly lovable protagonists whose music will get stuck in your head instantly. (Anyone else still singing “How It’s Done”?) The cast also features cameos from tons of talented Korean-American actors like Ken Jeong and Daniel Dae Kim.

Throughout his career, George Clooney has used his innate likability to win over audiences. But Clooney’s character, Jack, does something so alarming in the opening minutes of The American that it risks alienating viewers from the beginning. Even Jack feels regret for the sin he committed, but that doesn’t stop him from committing more throughout the film.

Jack is a killer for hire in the criminal underworld, and someone has been getting uncomfortably close to him with attempts on his life. While hiding out in a remote Italian town, Jack starts to reinvent himself, and he even courts a woman named Clara (Violante Placido). Unfortunately for Jack, his old life doesn’t take long to intrude upon his new one.

The American is streaming on Netflix.

Nora (Greta Lee) is a writer who is happily married to Arthur (John Magaro). Yet when an old childhood friend she once shared a romantic connection with back in her native South Korea visits her in New York City, she begins to reconsider her feelings for both men. Is it possible to love two people at the same time? 

Past Lives has an outline of a standard love triangle story, but it’s anything but. Director Celine Song navigates the delicate lines between love and friendship, and how subtly friends can realize their soulmates and vice versa. Nora’s feelings are complicated, and Lee’s masterful, elliptical performance beautifully conveys the depth and ambiguity of her character’s emotions. The ending is a beautiful heartbreaker, and you won’t soon forget it.

1917 is one of the greatest — and most ambitious — war movies ever made. The film follows two British soldiers, Will Schofield (George MacKay) and Tom Blake (Dean-Charles Chapman), as they try to survive the horrors of World War I. They are tasked with delivering a message to another military unit to stop a scheduled counterattack against German troops that would endanger the lives of over a thousand men, including Tom’s older brother. Since speed is of the essence, they have to venture into no man’s land and face almost certain death to achieve their mission.

What sets 1917 apart from other films is the sheer skill and innovation involved in its production. The film is constructed so it seems like it’s one continuous shot with no obvious edits, which immerses you into the action and brings an extra layer of intensity to every bullet flying by and bomb exploding in the distance. The score by Thomas Newman is one for the ages, and the ending will wring a tear from the most hardened viewer. It’s a momentous achievement in filmmaking, and you feel it in your bones.  

Joe Scaravella (Vince Vaughn) just lost his mother, and his grief has left him spiritually empty. Looking for a purpose, he opens an Italian restaurant on Staten Island. But it’s no ordinary restaurant, though, as the cooks are a quartet of Italian grandmothers. Are these no-nonsense nonnas the key for Joe to regain his mojo and make a little money as well?

Nonnas is a broad comedy that isn’t afraid to pull at the heartstrings. While the plot is nothing new, the cast is better than you might think. Vaughn is effective as the morose Joe, while Susan Sarandon, Talia Shire and Brenda Vaccaro are massively appealing as the grandmas who bicker with each other as much as they make pasta. 

In the mood for an intense action movie with death-defying stunts and a cynical lead hero? Then Havoc is for you. Tom Hardy stars as Walker, a jaded detective who is in a lot of trouble. A drug deal has just gone bad and he’s on the run from a gun-happy crime syndicate that wants him dead and some dirty cops who don’t want their criminal side hustles exposed. 

To make matters worse, he has to protect a crooked politician’s son who was involved in the drug deal and knows more than he’s letting on. Can Walker save the boy and not be killed in the process?

The plot isn’t anything new, but Havoc is worth watching just for the stunts alone. The movie was directed by Gareth Evans, who made the modern action classics The Raid and Gangs of London, so there are a lot of gunshots, explosions and face-smashing fights. Hell, there’s even a chase scene where someone throws a washing machine onto a pursuing cop car. 

In other words, Havoc rocks, and it makes you want to see Hardy and Evans collaborate again on another crazy action movie like this one.

Australian teenager Mia (Sophie Wilde) goes to a friend’s party and is coerced into playing a parlor game called “Talk to Me,” which involves holding a supposedly cursed severed hand and allowing a spirit to possess them. But Mia quickly realizes this is no game as the spirit that possesses her begins to take over her life. Can she find a way to get rid of this unwanted demonic presence without losing her friends, family and sanity?

A sleeper hit in 2023, Talk to Me takes its out-there premise seriously. Far from an Exorcist knock-off, Talk to Me is more of an A24 “trauma horror” movie that uses jump scares to explore Mia’s fractured emotional state. The movie can be heavy, but it’s also scary as hell, with an ending that will leave you wanting a sequel. (One’s on the way in the near future.)

On February 9, 2020, Parasite shocked Hollywood by winning four Academy Awards, including Best Picture. But anyone who saw the movie wasn’t really surprised — it’s an instant masterpiece, one that’s both fascinating to ponder and entertaining to watch. 

In Seoul, South Korea, a lower-class family cons their way into the circle of a wealthy family who has everything they desire: a big house, a fancy car and plenty of food and drink to consume. But as the poor family grows closer to their benefactors, class lines begin to blur and soon a buried secret threatens both families. 

To say more would be a crime, as Parasite’s twisty narrative is best enjoyed unspoiled. The director, Bong Joon-ho, has something to say about how class works in his home country and how the rich really are just the worst. But Parasite also works as a purely entertaining thriller, with a denouement that just might break your heart.

Aubrey Plaza is cursed with being too good at what she does. She’s best known for her comedic work on Parks and Recreation and her nuanced turn on season two of The White Lotus, but she’s also quietly a great dramatic actress, and the best role she’s arguably ever had was in the underrated Emily the Criminal, a 2022 thriller that isn’t funny at all.

Plaza plays Emily, an Angeleno who is drowning in student loan debt and can’t find a good job to pay it off. In desperation, she joins a credit card fraud organization and starts to make money by stealing from others. Everything has a price, though, and soon Emily discovers her life as a criminal isn’t as satisfying as she’d like. Can she go back to her life as an honest worker who gets paid low wages? Or is the appeal of a life in crime worth the risk?

Before he was Willy Wonka and Bob Dylan, Timothèe Chalamet was a king — King Henry V, to be exact. Buried in a great year that included such releases as 1917, Once Upon a Time in Hollywood and Little Women (which also starred Chalamet), The King deserves more respect and attention than it’s received. A historical epic that feels raw and visceral, it features not only a great lead performance by Timmy but also a scene-stealing turn by Robert Pattinson as a foppish French royal and a stirring score by Nicholas Britell.

It’s the early 15th century, and England is at war with France. King Henry IV (Ben Mendelsohn) is already thinking about who will succeed him, and he ultimately chooses Henry V, or Hal, to take the throne after he dies. Yet his ascension to power creates friction among his family, and even Hal’s closest friends aren’t as trustworthy as they appear. Hal must find a way to win over those who doubt his ability to rule while also winning an impossible war with an enemy hellbent on taking over England.

2024 had its fair share of great animated movies like Flow, Memoir of a Snail and Inside Out 2, but some inevitably got lost in the shuffle. Orion and the Dark was one of those movies, and it’s a future classic ripe for rediscovery. Based on Emma Yarlett’s children’s book of the same name, the movie chronicles 11-year-old Orion (voiced by Jacob Tremblay) as he deals with his fear of the dark. One night, he’s visited by Dark itself (Paul Walter Hauser), who takes the young boy on a magical journey where he meets other nighttime entities like Sweet Dreams (Angela Bassett) and Insomnia (Nat Faxon). But will Orion truly accept Dark, and all the fears associated with it, before Light comes and disintegrates the entity forever?

That’s only part of the movie, but to spoil any more would ruin the experience of discovering all of its strange twists and turns. The movie was written by Charlie Kaufman, and his bizarro sensibility is evident in the movie’s even stranger second and third acts. But it’s the animation, produced by the French studio Mikros Animation, that truly impresses and makes Orion and the Dark a keeper for all generations.

Saturday Night Live turned 50 in 2025, and the dramatic leadup to the half-centennial celebration included the release of a feature film depicting the legendary show’s first episode. On October 11, 1975, neophyte producer Lorne Micheals (Cooper Hoffman) struggles to keep his Not Ready for Primetime Players, among them Chevy Chase (Cory Michael Smith), Gilda Radner (Ella Hunt), Dan Ackroyd (Dylan O’Brien), and Andy Kaufman (Nicholas Braun), focused and ready for the launch of his new show while also dealing with disapproving execs and a sullen writer (Rachel Sennott) who also happens to be his girlfriend. Can he hold everyone together, rein in all the egos and keep the naysayers away long enough to get his show off the ground?

Well, you know the answer. Director Jason Reitman opts to set his movie in real-time, more or less, which lends a frenzied, authentic feel to the whole thing. The movie’s rich ensemble shines, particularly Sennott as Rosie Shuster, and it accurately captures the rush of improv and putting on a show. While it’s not particularly deep, Saturday Night leaves you with a greater appreciation for a broadcast institution we all take for granted. 

Cantor Ben Gottlieb (Jason Schwartzman) has seen better days. His wife, Ruth, died a year ago and he’s suffering a crisis of faith that’s rendered him unable to sing. To get his musical groove back, he sees his old music teacher, Carla (Carol Kane), who wants him to help her study for her long-delayed bat mitzvah. As Ben becomes closer to Carla, both realize their growing feelings for one another could isolate them from their respective families. 

Between the Temples (a reference to both their shared Jewish faith and their brain matter) is a comedy rooted in sadness, but it’s not a downer. As the movie’s unconventional couple, Schwartman and Kane have a chemistry you can’t bottle, and the film’s full of lively moments that make you giddy. It’s a throwback comedy that recalls such classics as Moonstruck and Crossing Delancey, but its generous spirit will make you want to watch it again and again. 

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