Netflix movies: Best movies to watch on Netflix right now
Even in November, surprises are never enough. In fact, Netflix fans and subscribers will experience a period full of news between unpublished TV series, new seasons and unmissable films. In fact, like every month, the platform will expand its catalog with various exclusive titles.
Among the new films arriving next month, there is much curiosity about the second chapter of the saga dedicated to ” Enola Holmes “, Sherlock’s sister, also a brilliant detective despite her young age. Not only that, eyes also focused on “ Is that black enough for you ?”, a documentary starring Elvis Mitchell, an expert in the history of cinema, which traces the first steps of the African-American community in American cinema in the 70s. But if this “taste” wasn’t enough for you, here’s the list of new movies arriving on Netflix in November. Read down below and see which are the best Netflix movies to watch right now and new movies to catch up on.
Enola Holmes 2
Since the day of its release, Enola Holmes 2 has steadily occupied the top positions of the top 10 of the most viewed Netflix content in Italy, in which the first Enola Holmes film has also returned: yes, two positions out of ten are occupied by first and second film in the film-television saga based on the novels by Nancy Springer (although a clarification must be made on the history of this film that we will make later). This is where Enola Holmes 2 starts again. Or rather, the film begins with the protagonist running away from the police, but then Millie Bobby Brown looks into the camera and takes us back to the origin of this story, which is precisely after the opening of her agency.
Falling for Christmas
Christmas is coming and with its imminent arrival, the various platforms are also adapting their catalog to this occasion with new additions on the theme of the most magical time of the year. For example, Falling for Christmas has arrived on Netflix, a romantic comedy starring Lindsay Lohan who finally returns to the screen in a leading role. Falling For Christmas, of which we offer you our review, wants to consecrate the return to the scene of the actress, who has been absent in recent years and away from the scene due to personal problems and some trouble. Bringing her back with a comedy is undoubtedly a brilliant move, given that it is the genre for which she is best known, to the point of being identified by the public as one of the queens of teen comedies of the 2000s (one above all is obviously Mean Girls ).
The Bad Guys
Years have passed since this enlightening statement by Jessica Rabbit, yet the concept remains valid and is applicable to many characters who have animated and animate the screen, as we will also see in this review of Too bad. The new DreamWorks Animation film, in fact, tells of a bizarre band of animals dedicated to crime, evil by reaction, because they belong to breeds considered potentially dangerous and demonized by popular culture. A film with an interesting voice cast, based on the series of children’s books by Aaron Blabey and directed by Pierre Perifel, animator of Kung Fu Panda here in his debut in an animated feature film.
The Good Nurse
Inspired by the 2013 novel of the same name published by Charles Graeber, itself based on the true story of the capture and arrest of Charles Cullen, The Good Nurse follows the story of an American nurse accused of killing nearly four hundred people over the course of of sixteen years of service in more than ten US hospitals. From 1987 to 2003, Cullen became one of the most prolific serial killers in US history as a healthcare worker.
Where the Crawdads Sing
Where The Crawdads Sing adapts the best-selling phenomenon and brings the characters of Kya, Tate and Chase from the page to the big screen. With an estimated 4.5 million copies of the novel sold, there is certainly a large audience with an invested interest in the story. And, as with any book adaptation, there will no doubt be a line of readers ready to smugly proclaim, noses in the air: The book was better than the movie. Kya (Daisy Edgar-Jones) lives alone, deep in the forested swamps of North Carolina in the 1960s. All of her family left her, one by one, and she survived by using her vast knowledge of the swamp and her keen instincts. She lives a life of solitude, a lonely “swamp girl” with no real connection to the outside world, until she forms unlikely relationships with two different boys. What follows is a world of pain, mistrust and murder.
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Many, many have tried to translate the nightmare into cinematic matter. Someone else, on the other hand, has tried to translate the concept of dream, declined in the reflections of an imagination in which to take refuge when things don’t go the right way. Tim Burton comes to mind with Big Fish , or more simply Beyond Dreamswith Robin Williams. Those were other years, streaming was not yet considered, nor was the algorithm considered. Or rather, there were theoretical canons to be respected, a thread on which to wrap the screenplay. However, the fact remains that the very metaphor of the dream, which exponentially broadens the conception of our knowledge whenever we rely on the subconscious, is at the basis of cinema itself. For this reason, even if we stumble upon various distortions, let’s immediately say in our review that Slumberland is a passionate, engaging, funny and necessarily moving film.
Director Sam Macaroni, one of the producers of John Wick and Ghosts of War, directs an action thriller that proves to be uninspired and with an already-seen flavor from the point of view of the plot and on which, at the same time, a stage-technical sector weighs just okay. Following an accident caused by a chase, Cain wakes up amnesiac in a Mexican hospital room. He doesn’t even know if this is his real name because this information is given to him by the doctor who is treating him as well as Anna, a charming woman who claims to be his wife. But some alleged friends who pretend to be such make the man understand that something is not right. Slowly, however, fragments of memories and true identities are revealed. The men are none other than members of a drug cartel, who must recover a precious briefcase from Cain while Anna, in reality, is a CIA operative. Finally, Cain himself is revealed to be an undercover DEA agent. Soon, the entire hospital becomes a no-holds-barred battleground.
Luckiest Girl Alive
Ani is 28 years old, works in a well-known women’s magazine in New York, is getting married to Luke, a rich and charming young man: her life seems perfect, but it isn’t. Behind an armor of smiles and sentences of circumstance, Ani has buried a great trauma of her adolescence: a gang rape by three of her schoolmates and then a shooting right inside the renowned private high school. Her past seems to want to knock on her door again when a young director contacts her to make a documentary of the tragedy. In reliving the trauma again, Ani loses control of the self she had built, of this her alter ego, and she decides she wants to bring about changes in her life.
Against the Ice
Since last March 2, the Netflix library can also count on the presence of Against the Ice, a survival drama directed by Peter Flinth which had its premiere last February 15 during the Berlin International Film Festival. Released a little on the sly, within a week it ended up in the ranking of the most viewed on the platform. There are at least a couple of reasons that could tickle the viewer’s curiosity. Co-produced by Iceland and Denmark, it marks the first Netflix Original Production for both countries (in collaboration with RVK Studios and III Kippers), for a film that is based on true events.
Blonde is not a hasty and lackluster reproduction of the life of an icon of cinema and beyond. But an ambitious attempt to decipher the code of a star’s soul, too often confined in the narrow prison of the juliva. Character, vocation and destiny of the actress are interpreted in the light of a denied childhood. Child never loved, due to a destitute and mentally disturbed mother and a father never known, Norma Jeane finds in her alter ego Marilyn Monroe a lifeline, an escape route. The dejected little girl with a stuffed tiger as her only friend is mirrored in the shapely simulacrum desired by the entire terrestrial globe. But a divided ego, over time, loses the sense of reality and the light of reason. Sure, “it’s always better to cry in a Roll Royce than in a crowded streetcar”.However, in the end, the pain kills you.
Bad Moms Christmas
Christmas is the most beautiful time of the year… if you are not a mum! Packing, decorating, cooking. Is there anything more stressful? Yes: your mother’s surprise visit, who comes to remind you how much you fall short. Because we know that behind every bad mom, there are even more bad moms. Amy, Kiki and Carla are back and are ready to do anything to save their Christmas. And then between stripper Santa Clauses, wild parties and hangovers, the war between mothers is about to begin. No holds barred. No, not everyone is better at Christmas.
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All Quiet on the Western Front
The film fails in a big way in the way it depicts its characters. Each one is just a faceless dude with almost zero personality. Because of this, the viewer sees the characters as members of a social hierarchy, whether it be a politician negotiating on peace, a general in charge leading his troops, or a young grunt in a fox hole hugging his his rifle during artillery shelling. Paper-thin characters are a real problem, because the viewer doesn’t care much about the people on screen. That’s just the problem with the film, because the novel itself had clearly established characters.
Capturing the Killer Nurse
The killer nurse is a punch in the stomach that shows all the shortcomings of the health system, too often negligent towards the right morality because it is conditioned by its profit motives. In fact, in this documentary we are shown how many American hospitals that had suspicions about Cullen’s borderline behavior turned a blind eye so as not to ruin their image and not lose money, because in the end, it’s always and only a matter of money. Thus, Netflix, with the help of the protagonists of this terrible 16-year-long story of hospital massacres, has brought to light a very topical problem by showing all the flaws in a system that should exist to help others but only profits above people and their suffering, at least in most cases.
Minions & More Volume 2
The product is again being made by Illumination Entertainment, a production company owned by Universal Pictures, with animation studios in France. The legendary Chris Meledandri is still at the production, called by Universal to form a valid team for animated films, after years of successes in Fox as project manager for Ice Age, Horton, The Simpsons and Alvin Superstar, Pets. Once again the story is funny and tender, elementary like the stroke with which the characters are characterized, with an extravagant design with clear and very colorful lines. However, there is an effort to craft a plausible story, to once again employ very successful characters, who however had found their most congenial environment in the more absurd and surreal atmospheres of the first film.
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The Hand of God
Set in the 1980s and titled after Diego Maradona’s outrageous remark about his equally outrageous 1-0 goal against England in the 1986 World Cup, the story focuses on the cheerful and colorful Schisa family. There’s cheeky dad Saverio ( Toni Servillo , in top form) and mischievous mum Maria ( Teresa Saponangelo , utterly delightful) and their triple offspring, with teenager Fabietto ( Filippo Scotti, thoughtfully portraying the part of the young Sorrentino himself) in the forefront. There is also a wealthy plethora of extended family, friends and neighbours, including a beautiful unhappy aunt, an eccentric upstairs baroness, and an honorable but boring fellow with an electrolarynx, to name a few.
An invisible red thread connects the muted memories of a five-year-old girl and her older sister who care for her against the backdrop of a family tragedy. A ball of flashbacks unwinds along the prison path that takes them back to when there were only two of them having to get by. On Katherine ‘s arm black ink outlined the keys of a piano. They imagined one sound after another, sometimes deaf, sometimes sonorous, between the black and white of the notes in the twenty years of distance that divided them into two parallel eras.
The movie, directed by Antoine Fuqua ( Training Day ) and adapted by Nic Pizzolatto ( True Detective ), is the stars and stripes remake of the Danish Den Skyldige of 2018, distributed on the international market just like The Guilty. Original that had been able to get talked about, winning several awards during previews at Festivals such as Sundance, Camerimage, Seattle and Turin, as well as recognition as Best Foreign Film from the National Board Review. Written and directed by Gustav Möller who, hoping for economic foresight, is now participating in the makeover asexecutive producer.
The Lost Daughter
Maggie Gyllenhaal arrives at the Venice Lido, in competition at the Venice International Film Festival, with her first film as a director, La Figlia Oscura ( The Lost Daughter ) based on the homonymous novel by Elena Ferrante. For this debut, Gyllenhaal chooses the versatile and very talented actress and winner of an Oscar as the protagonist, thanks to a film presented right on the Lido in 2018, La Favorita by Yorgos Lanthimos. Let’s talk about Olivia Colman who is joined by a respectable cast in which Dakota Johnson, Ed Harris, Paul Mescal, Jessie Buckley, Oliver Jackson-Cohen, Alba Rohrwacher and Peter Sarsgaard stand out.
Netflix movies 2022
The School for Good and Evil
The world of fairy tales can be wonderful and there are many filmmakers who have taken the opportunity to remix past stories, working from a familiar template and adding something new and refreshing. Based on author Soman Chainani’s 2013 novel, The School for Good and Evil, directed by Paul Feig from a screenplay written with David Magee, is a mashup of various fairy tales interpreted differently. Even if the Netflix film doesn’t reinvent the wheel and goes on for too long, The School for Good and Evil is a lot of fun and has a lot of heart thanks to its lead performances and solid character development.
As an imitation of the Netflix hit Bridgerton, Persuasion is a pale and sad copy of the TV series. Johnson’s screen presence was the redeeming factor for many bad movies that came out before Persuasion, but in the starring role as Anne Elliot, she does nothing to give the film momentum. So, we said that as a Bridgerton imitation it’s a disaster, as a Dakota Johnson film it’s a disaster, and it’s equally a disaster as an adaptation of Jane Austen’s novel Persuasion. Where Austen’s original is devastating in its restraint, this film is broad in its humor, shallow in its emotions, and harsh in its characterization. Inexcusably, it ruins one of Austen’s most romantic moments, the letter-writing scene.
For a few days – more precisely, from June 17 – the Netflix catalog has been inhabited, among the various new arrivals, also by Spiderhead. The film, a 107-minute sci-fi thriller, is based on the short story Escape from Spiderhead, written by George Saunders and featured in his Tenth of December. The text was adapted for the cinema by Rhett Reese and Paul Wernick (already authors of Zombieland, Deadpool, 6 Underground ), who developed the screenplay. The camera was instead entrusted to Joseph Kosinski, former director of Tron: Legacy and Oblivion but also of Top Gun: Maverick, released almost simultaneously with the film in question.
In this film, Cassie Salazar (Sofia Carson) lives for art (music). Well, we have something in common… even in Wonder Channel we love music. When she’s not working, she sings with her band The Loyal and writes songs based on her personal stories. Money is scarce; everything she earns she uses to pay rent and bills, not to mention her ongoing struggle with diabetes. And it is precisely this disease that changes Cassie’s life. He no longer has the money to pay for treatment and must find a solution if he is to survive. Yes, it’s a matter of life and death.
Netflix has released the official trailer of Senior Year in streaming, a film starring a fully transformed Rebel Wilson who plays a woman who, after 20 years in a coma due to an accident at school, suddenly wakes up and decides to resume her her life right where it left off: in high school. The film is directed by Alex Hardcastle from a screenplay written by Andrew Knauer, Arthur Pielli and Brandon Scott Jones. The cast also includes Alicia Silverstone , Justin Hartley, Angourie Rice, Sam Richardson, Zoë Chao, Mary Holland and Chris Parnell. The release on the digital platform is scheduled for May 13, 2022.
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We are in Ireland at the end of the 19th century. Here, Florence Pugh plays a London nurse, Lib Wright, who is asked to look after a little girl who thinks she has a miracle cure. The baby is Anna, and she hasn’t touched food for four months. She feeds on “manna from heaven,” and she seems to be doing just fine. A pilgrimage destination for visitors and the curious, Anna dispenses reflections on the subject of wisdom and faith, ending up in the international news. Together with Lib Wright, a nun takes over her, so that the child is never alone. Her aim is to find out if she really is fasting or if she is hiding some secret that allows her to stay alive.
A film released on Neflix on September 16, 2022 also talks about revenge. The protagonists of Do Revenge are two teenagers , Drea ( Camila Mendes ) and Eleanor ( Maya Hawke ). Both were hurt by someone they trusted and both burn with the desire to take revenge. Indeed, in some ways it is very reminiscent of the film Mean Girls (2004). As Cady ( Lindsay Lohan ) had joined the Barbie group, at the suggestion of her friend Janis ( Lizzy Caplan ), to take revenge on their leader Regina George ( Rachel McAdams ), so Eleanor , instigated by Drea, joins the group of popular kids of Rosehill Country Day High School to get back at Max ( Austin Abrams ), who has been spreading an erotic video of Drea.
To inhabit Entergalactic is actually a classic love story. Jabari (Scott Mescudi) is a writer hired by a publishing house to transform Mr. Roger, an urban vigilante drawn on the walls of the city without censorship, into a showcase graphic novel. Determined to focus on his work, Jabari falls in love with his next-door photographer, Meadow (Jessica Williams). Courtship dances and misunderstandings are natural elements of a story that follows the ecosystem of flowery love between the sidewalk crevices, where luck and chance cultivate the most beautiful flowers in New York. Because Entergalactic has first of all an environmental interest; journey into the contemporary urban jungle, where it is still possible to fall in love, fight for relationships and live coherently with oneself and one’s art. Entergalactic is optimistic, but on the other hand the delusions of smoke that open the film asked to suspend the comparison with reality. All beautiful, (almost) all easy, but because it was partly imagined, projected onto the cloud of a joint.
Love in the Villa
Love in the villa – Falling in love in Verona is the classic American comedy movie, made to make all viewers dream, hoping for a sudden love during the holiday of their desires. Let’s take a simple girl, so much out of the ordinary in a cell phone world. Let’s give her a good dose of love for Shakespeare’s tragedies, in particular for Romeo and Juliet, a breathtaking journey to Verona, in an Italy made up of Sicilian cannoli, people who drive badly and all the stereotypes of the case. We add a pinch of new love, mixed with an initial hatred and we have packaged one of the greatest clichéd films in the history of American comedies, without depth and absolutely avoidable.