New Movies on Netflix

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New Movies on Netflix

Netflix has been adding so many new movies to its menu of offerings that it can be tough to keep up with all of their latest films. The following list includes 20 of the biggest movies the streaming service has released in the last few months.

Some we recommend more than others, but we’ve listed them all in order of release date, starting with the newest movies on Netflix. We’ll update this as Netflix continues to add new original films to the streaming service.

1. The Wonder

Release Date: November 16, 2022
Director: Sebastián Lelio
Stars: Florence Pugh, Tom Burke, Kíla Lord Cassidy, Elaine Cassidy, Caolán Byrne, Niamh Algar, Toby Jones
Genre: Psychological thriller
Rating: R

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The Wonder, the latest from Chilean filmmaker Sebastián Lelio, begins in a far more meta manner than one might expect from a broody period drama with lights, cameras and other requisite equipment lay neatly assembled on the soundstage. The camera then pans and moves toward a young English nurse (Florence Pugh), whose occupation and nationality is disclosed via voiceover, alongside the film’s time and place: 1862, England bound for Ireland, the Great Famine (known as the “Potato Famine” to most) only tapering off in the past decade or so. “The Irish hold the English responsible for that devastation,” states the narrator. This piece of information, contextless in the greater history of the brutal famine, instantly presents Pugh’s character as a maligned outsider. As The Wonder marches onward, the narrative championing English intervention among a seemingly savage Irish becomes harder to stomach—particularly if one has a tangible connection to the Celtic culture. Adapted from Emma Donoghue’s 2016 novel by the author with Lelio and Alice Birch, The Wonder unfolds from nurse Elizabeth “Lib” Wright’s (Pugh) point of view, beckoned to the dead center of Ireland to conduct a fortnight-long “watch” over young Anna O’Donnell (Kíla Lord Cassidy), who claims to have subsisted solely on “manna from heaven” since her 11th birthday four months ago. A staunch agnostic who’s seen first-hand the atrocities of battle while working under Florence Nightingale during the Crimean War, Lib is constantly butting heads with the devoutly Catholic Irish people who’ve summoned her. What the film and Donaghue’s novel unfortunately have in common is the narrative’s reliance on a shocking revelation concerning Anna’s so-called “fast.” —Natalia Keogan


2. My Father’s Dragon

Release Date: November 11, 2022
Director: Nora Twomey
Stars: Jacob Tremblay, Gaten Matarazzo, Golshifteh Farahani, Dianne Wiest, Rita Moreno
Genre: Animation, Fantasy
Rating: PG-13

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My Father’s Dragon, the latest film from Ireland’s Cartoon Saloon, is directed by studio co-founder Nora Twomey and based on the beloved children’s book of the same name created by Ruth Stiles Gannett. This adaptation brings to life, in gorgeous 2D animation, a kaleidoscope of surreal visuals and strange creatures encountered by a little boy and his dragon friend. Theirs is an intimate story about processing fear, especially speaking to those children wrestling with the burdens of having to emotionally navigate real-world stresses that invade their lives too soon. Like Gannett’s book, My Father’s Dragon is also narrated (sparsely) by the unseen grown child (Mary Kay Place) of the story’s protagonist, Elmer Elevator (Jacob Tremblay). She sets up an adventure Elmer had in his childhood that not only utilized his talent for finding things, but was also life-changing, involving a talking cat (Whoopi Goldberg) and a dragon (Gaten Matarazzo). Twomey and her artists have done the magic of staying within the illustration aesthetic of their studio’s signature approach, while expanding that into a more surrealistic and fanciful approach that feels individual and unique. It will especially appeal to the sensitive kids (and adults) in your life, and it most definitely meets the high standards Cartoon Saloon continues to make in the medium. —Tara Bennett


3. Falling For Christmas

Netflix Release Date: November 10, 2022
Director: Janeen Damian
Starring: Lindsay Lohan, Chord Overstreet, George Young, Jack Wagner, Olivia
Genre: Romantic Comedy
Rating: TV-PG

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From the moment this film begins, we’re in a distant-familiar territory with Lindsay Lohan acting the brat. Her character Sierra is a hotel heiress who huffs and stomps her way through life. And though Sierra would like to so bravely shun nepotism forever and strike out on her own, Daddy (Jack Wagner) doesn’t think it’s such a good idea. Undeterred, off Sierra goes on a winter retreat with her influencer fiancé Tad (George Young). On the other side of her holiday destination rests The North Star Lodge. Its owner Jake (Glee graduate Chord Overstreet) is as busy as he is blonde. His folksy retreat is close to shuttering. His daughter (Olivia Perez) is growing up without a mother. And his mother-in-law (Alejandra Flores), is concerned that he hasn’t gotten laid in a while. But The North Star Lodge is a magical place. When wishes and bad weather bring Sierra crashing down the mountains, she awakes in the lodge, unable to remember who she is. But in the oaken cozyland of Jake’s care, and through the spirit of charitable fundraising, Sierra might discover not just who she is but who she is meant to be. Falling for Christmas feels less like a genuine chance to give Lohan a due shot at a re-return to acting as it does like some executive’s opportunity to capitalize on millennial nostalgia. This self-disinterest makes it incredibly hard to understand Lohan the actress, let alone Lindsay the person. And she is both! We have forgotten more about her than we remember. Hollywood needs to treat her as something other than a precious princess. Yet this film makes it quite plain that Hollywood sees Lohan as a decorative angel, one kept in a drawer until the time is right to place her imperfectly on top of the billing. —B.L. Panther


4. Wendell & WildNetflix Release Date: October 28, 2022
Director: Henry Selick
Starring: Jordan Peele, Keegan-Michael Key, Angela Bassett, Lyric Ross, Ving Rhames
Genre: Animation, Comedy
Rating: PG-13

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Early on, Wendell & Wild feels like it might not be for kids so much as inebriated adults. Over the course of its runtime, that is revealed to be a reductive appraisal—it’s a spooky coming-of-age comedy made of sad and dramatic moments which demonstrate the importance of community resistance to corporate control of the government. The plot has enough going on that it could have been a TV series or a two-parter, but for whatever its flaws or limitations, it flows coherently for 106 minutes to a satisfactory conclusion. All the while, it’s a marvel of artistry and artisanship, with a soundtrack full of Black-fronted rock bands to boot. Kat (Lyric Ross), a young green-haired Black girl, loses her parents—pillars of their community—in a car accident and is roughed up over the years by the juvenile justice system as the film visually summarizes through shadow-puppet illustrations of memories. It’s a nice added layer, artistically and didactically. A grant-funded reintegration program brings Kat back to her now largely-deserted hometown, Rust Bank, and its eponymous private Catholic school. There, Kat discovers her supernatural connection to the underworld through Wendell (Keegan-Michael Key) and Wild (Jordan Peele). Wendell & Wild reminded me of Beetlejuice and Nightmare Before Christmas, but it isn’t cribbing from what has come before. It’s building on it, and kids and parents everywhere are lucky to have this film. Selick hasn’t directed a lot of movies, but his films have a lasting impact, etching themselves in the memories of their audiences for decades. —Kevin Fox, Jr.


5. All Quiet on the Western Front

Netflix Release Date: October 28, 2022
Director: Edward Berger
Stars: Felix Kammerer, Albrecht Schuch, Aaron Hilmer, Moritz Klaus, Edin Hasanoviç, Daniel Brühl
Genre: War
Rating: R

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There are now three major screen adaptations of Erich Maria Remarque’s novel All Quiet on the Western Front. The first two were grim reflections of the wars of their time, and remain fascinating not just for their treatment of Remarque’s work, but for viewing them in the context of the time in which they were made: Lewis Milestone’s 1930 film landed in the precise middle of the two World Wars that forever reshaped Europe; Delbert Mann’s 1979 television adaptation inescapably called back to the Vietnam War. Edward Berger’s new adaptation, distributed by Netflix, is unique among these in that it’s actually a German-language and German-led production. Despite their clear dedication to paint a universalist picture of the futility and inhumanity of modern war, the previous productions were, on some level, putting an American spin on this tale. Berger (born in then-West Germany in 1970) is not. It’s therefore somewhat perplexing that this adaptation ditches a lot of the particulars of the novel, widens its perspective characters to include top German brass, elides characters and even changes the particulars of major plot points to tell what amounts to an almost completely different story—one with a wider scope. By virtue of including two other characters, it makes an attempt to go beyond the trenches and indict the inhumanity of the people whose words cause wars. It’s wild, compared to the mostly faithful adaptations of the past. It also, inescapably, feels as if it’s more of a war film than the others, with more action scenes and necessarily less of an examination of the effect of war on the individual soldier. It’s a completely different perspective that is exceptionally well-shot and directed and raises its voice about Germany’s part of culpability for the war. It’s therefore profoundly frustrating that All Quiet on the Western Front, at times, bucks against Remarque’s thesis. It is, nonetheless, the first All Quiet on the Western Front adaptation in wide release that we’ve got from an actual German perspective. As we grow more and more distant from the war to end all wars, that kind of reappraisal becomes even more important. —i>Kenneth Lowe


6. Enola Holmes 2

Netflix Release Date: October 27, 2022
Director: Harry Bradbeer
Stars: Millie Bobby Brown, Henry Cavill, David Thewlis, Louis Partridge, Helena Bonham Carter, Susie Wokoma, Adeel Akhtar, Sharon Duncan-Brewster
Genre: Thriller, Adventure
Rating: PG-13

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Millie Bobby Brown returns as the kid sister of Sherlock Holmes in this sequel to 2020’s Netflix original. This time, she’s a full-fledged private detective trying to solve the mystery of a missing girl.


7. The Good Nurse

Netflix Release Date: October 26, 2022
Director: Tobias Lindholm
Stars: Jessica Chastain, Eddie Redmayne, Nnamdi Asomugha, Noah Emmerich, Kim Dickens, Malik Yoba
Genre: Thriller
Rating: R

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In an era where true crime content is churned out a mile a minute, it can be hard to differentiate adaptations that exist because their stories are actually worth telling, and those that are just another desperate vie for a spot on Netflix’s venerated Top 10 list. If you’re anything like me, you’ll frequently find yourself considering hard-hitting questions about the matter, such as: Does Jeffrey Dahmer’s backstory actually deserve to be three hours longer than Sátántangó? And, perhaps more to the point: Is there a purpose to any of this output at all? But then, every so often, a movie like The Good Nurse comes out, and it feels like a breath of fresh air. Directed by The Hunt and Another Round writer Tobias Lindholm, The Good Nurse tells the true story of Charles Cullen, a nurse and the most prolific serial killer in New Jersey history. The film centers around Amy Loughren (Jessica Chastain), the titular Good Nurse: An overworked single mom who pulls all-nighters to care for sick patients in an effort to pay for her upcoming heart surgery. Enter Charles (Eddie Redmayne), a soft-spoken nurse who appears to have been sent straight from heaven to make sure Amy takes her meds and help her daughter rehearse for the school play. But just as things are looking up for Amy, patients who came into the hospital with relatively minor injuries start mysteriously dying. Once The Good Nurse establishes that something undeniably fishy is going on, it quickly cascades into a perfect amalgam of a tense detective thriller starring dubious officers Danny Baldwin (Nnamdi Asomugha) and Tim Braun (Noah Emmerich), a gut-wrenching psychological drama, and a staggering showcase for Chastain and Redmayne, who deliver two of the finest performances of the year. —Aurora Amidon


8. The School of Good and Evil

school-good.jpg
Netflix Release Date: October 19, 2022
Director: Paul Feig
Stars: Sofia Wylie, Sophia Anne Caruso, Kit Young, Kerry Washington, Charlize Theron
Genre: Teen Fantasy
Rating: PG-13

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Warner Bros. has Harry Potter. Lionsgate has The Hunger Games. Now, Netflix (regrettably) has The School for Good and Evil. Though the streamer has seen enormous success in adapting Young Adult fiction in recent years, its latest venture into the teen fantasy market is an agonizing two-and-a-half-hour experience drawn out by lackluster VFX and familiar narrative elements. Based on the bestselling children’s book series by Soman Chainani, The School for Good and Evil tells the story of two unlikely companions: Sophie (Sophia Anne Caruso) and Agatha (Sofia Wylie). When the duo find themselves clutched between the claws of a giant bird-like creature, they are transported from their quiet town of Gavaldon to the enchanted School for Good and Evil, an institution that has educated legendary storybook characters for ages. Trouble ensues when Sophie is dropped off at the School for Evil and Agatha at the School for Good, a decision the girls are certain is a mistake. As the film progresses, and Sophie becomes influenced by an evil force, the best friends are placed on opposite sides of a magical battle. The School for Good and Evil is juvenile, over-the-top and campy in all the worst ways. It’s too busy trying to combine TikTok fashion with Top 40 music and popular children’s fantasy films to create any visual, musical or narrative distinction for itself. Its final scene teases a sequel, but it’s difficult to imagine The School for Good and Evil becoming even half as bewitching or influential as the YA series it’s trying so hard to be. —Kathy Michelle Chacón


9. The Stranger

Year: 2022
Director: Thomas M. Wright
Stars: Joel Edgerton, Sean Harris, Jada Alberts, Cormac Wright
Genre: Thriller
Rating: TV-MA

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Based on a real Australian crime and Kate Kyriacou’s book on the subject, The Sting: The Undercover Operation That Caught Daniel Morcombe’s Killer, this Netflix original was written and directed by Top of the Lake actor Thomas M. Wright.


10. The Curse of Bridge Hollow

Year: 2022
Director: Jeff Wadlow
Stars: Marlon Wayans, Priah Ferguson, Kelly Rowland, John Michael Higgins, Lauren Lapkus, Rob Riggle
Genre: Teen Horror Comedy
Rating: TV-14

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Marlon Wayans stars as science teacher Howard Gordon, a Halloween grinch forced to team up with his daughter to fight the evil spirit of Stingy Jack, who’s brought all of the New England town’s creepy holiday decorations to life.


11. Luckiest Girl Alive

Netflix Release Date: October 7, 2022
Director: Mike Barker
Stars: Mila Kunis, Finn Wittrock, Scoot McNairy, Chiara Aurelia, Justine Lupe, Thomas Barbusca, Alex Barone, Carson MacCormac, Isaac Kragten, Gage Munroe, Jennifer Beals, Connie Britton
Genre: Thriller
Rating: R

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Is Luckiest Girl Alive a dark satire? Is it a glorified Lifetime movie? Is it camp? Is it a mystery? Is its central message one of female empowerment? Could it have been the pilot for a WB series 20 years ago? The answer, I’m afraid, is all of the above. Based on the 2015 novel of the same name by Jessica Knoll, Luckiest Girl Alive follows Ani Fanelli (Mila Kunis), a writer at a glossy magazine called The Women’s Bible. She has a glamorous boss LoLo Vincent (Jennifer Beals) and dreams of being an editor for The New York Times Magazine. She’s also got a giant rock on her finger thanks to her swanky fiancé Luke Harrison (Finn Wittrock) who “played D1 lacrosse at Colgate, kite surfs on Nantucket and skis in Vail.” But nothing in Ani’s life is as it seems. She once was TifAni FaNelli (Chiara Aurelia plays the young Ani), a shy high-school student just trying to fit in among her rich classmates. You probably don’t need me to tell you that Ani is harboring a dark past. In 1999, when she was a high schooler, she experienced multiple horrific traumas. (I won’t talk about them here since I don’t want to give the entire plot of the movie away.) Her way of coping was to rebuild her life and bury her well-deserved rage. But 16 years later, a documentary filmmaker is making a movie about what happened all those years ago. Knoll adapted her own novel here, and the majority of the movie features Kunis’ bitter narration. We are supposed to think Ani’s harsh comments belie her inner pain—a defense mechanism. But mostly they just make her seem like an archvillain, a caricature more than a character. It’s a tough performance choice that often undermines any kind of nuance the movie is trying to achieve. —Amy Amatangelo


12. Mr. Harrigan’s Phone

Netflix Release Date: September 30, 2022
Director: John Lee Hancock
Stars: Donald Sutherland, Jaeden Martell, Joe Tippett, Kirby Howell-Baptiste, Cyrus Arnold, Colin O’Brien, Thomas Francis Murphy, Peggy J. Scott
Genre: Drama
Rating: PG-13

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Written and directed by John Lee Hancock, a genre-agnostic filmmaker who helped get Sandra Bullock her embarrassing Oscar for The Blind Side before turning to other forgettable dramas, Mr. Harrigan’s Phone has several red flags on speed dial. There’s the near-constant voiceover, the first and perhaps most damning sign of a weak-willed adaptor. Craig (Jaeden Martell) just won’t shut up about his time reading novels to local billionaire Harrigan (Donald Sutherland), the deadly fallout that ensued and what that all meant to him, an impressionable youth with a new iPhone. Mr. Harrigan’s Phone doesn’t just dumb down story Stephen King’s story and hold our hand, as nearly every movie made from a book does, but excises King’s talents like a new manager jealously firing the old guard. It might’ve taken a little imagination to make it so Mr. Harrigan’s Phone didn’t involve us listening to an audiobook of Stephen King CliffNotes, or us watching Craig painstakingly recite the novella to a grave, but Hancock demonstrates an impressive lack throughout. His movie is artless and inert—the cinematic equivalent of a bricked iPhone. In King’s story, Craig laments that those at Harrigan’s funeral never knew his human side. His love of country music, his distaste for the blowhard Rush Limbaugh, his dedication to bowel-cleansing oatmeal cookies. Mr. Harrigan’s Phone sins in similar ways: It knows the surface of its source, but none of what matters. —Jacob Oller


13. Blonde

Netflix Release Date: September 28, 2022
Director: Andrew Dominik
Stars: Ana de Armas, Adrien Brody, Bobby Cannavale, Julianne Nicholson, Xavier Samuel, Evan Williams
Rating: NC-17

There are pieces of Marilyn Monroe everywhere: In tributes, parodies and homage; in bits of her movies, sliced into iconic clips rendering them instantly recognizable even to those who haven’t actually watched them; in mournful recollections of stars snuffed out too soon. “It’s like a jigsaw puzzle, but you’re not the one to put it together,” says the version of Marilyn played by Ana de Armas in Blonde. Not every puzzle piece or image in the Monroe kaleidoscope makes it into Andrew Dominik’s film, which is neither traditional rise-and-fall biopic nor playful I’m Not There-style biographical deconstruction. But this adaptation of Joyce Carol Oates’ novel (not biography) is fragmented and visually rich enough to convey what Dominik and Oates seem to be after: How the collective ownership an audience feels over its beloved icons has unseemly origins, and often destructive endings. We see glimpses of Monroe as a thoughtful, well-read young woman; a passionate actress; an optimistic survivor—and for all these reasons and more, people dismiss her, or attempt to take possession of her. After a harrowing childhood sequence ending with the institutionalization of her mother (Julianne Nicholson), Blonde jumps to the early 1950s, with de Armas playing the former Norma Jeane Baker, now a model and up-and-coming actress—which means being treated, in her words, as “meat.” De Armas’ eyes have a pleading desire, and the edge of her accent peeks through her imitation of Monroe’s voice—perfectly appropriate, even lovely, for a figure who has inspired so many broad impressions. This version of Marilyn regards her stage name as a creation separate from her genuine self, and is on a perpetual search for the love that will fill the dual void left by her abusive mother and father she’s never known. Increasingly, she finds that the adulation felt by millions for Marilyn Monroe doesn’t necessarily count for Norma Jeane. Blonde can be a tough sit, for the 166-minute monotony of its images of abuse and misery almost as much as the misery itself. At the same time, its explosion of visual ideas never quite wears out its welcome. Dominik has created his own dark-flipside version of the Norma Jeane/Marilyn bifurcation, perhaps almost too neatly: The movie is both a daring and empathetic deconstruction of Monroe iconography anchored by a beautiful performance from de Armas, as well as a miserabilist wallow in exploitation. Like its fictionalized subject, the lines between the two are sad, blurry and spellbinding.—Jesse Hassenger


14. Athena

Release Date: September 23, 2022
Director: Romain Gavras
Stars: Dali Benssalah, Sami Slimane, Anthony Bajon, Ouassini Embarek, Alexis Manenti
Rating: R

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It’s been more than a decade since Romain Gavras filled his raw music video for “No Church in the Wild” with Molotovs, stolen police horses and dropkicked riot shields—visual motifs of protest heroics—and the only thing that’s changed is our familiarity with the aftermath. The rage behind these images still burns, but we know the cold comfort left behind when the embers are finally stomped out. Yet, the only thing to do is light the blaze again, which Gavras does in the riveting, vital Athena. A war epic between the people and the state, it sprints through a grassroots resistance movement like a brushfire: Blinding, dangerous, all-consuming. The warzone is Athena, a French housing project, where tragedy has assembled a community, grown from a family. Idir, 13 and the youngest of four brothers—Karim (Sami Slimane), Abdel (Dali Benssalah) and Moktar (Ouassini Embarek)—has been beaten to death by police. Someone recorded it on their phone. But we find this out in sprinkled bits of exposition, blown to confetti and wafting through the smoke-filled air. Our immediate attention is on Karim, leading a tracksuited pack of neighbors and like-minded young people, raiding a police station. The opening scene, the first of many incredible feats of planning, camerawork and drone operation, will make you vibrate through your seat. Gavras shoots long tracking shots like caffeine straight into your eyes: Painfully energizing. Athena’s opening is one of the year’s best, a piece of relentless, fist-pumping, jaw-clenching, goosebumping action that doesn’t stop until you’re fully radicalized. It’s then that you start peering through the style, seeing how it mirrors the personalities of its perspective characters. There’s a reason Athena feels like a heart attack in motion. There’s pain and panic. Your heart rate isn’t spiking just from the rush. But until we realize that, Karim and his crew star in a sweeping, large-scale epic—a modern 1917 where the horrifying euphoria of war has come home. Athena isn’t here for subtlety. It’s here to blow the drums out of your ears, the lids off your eyes, the lead from your shoes. With shots that start at “un-fucking-believable” and rocket towards “im-fucking-possible,” its grandiose vision aims to define an international symbol of modernity: Protest As War. Benssalah and Slimane, more political gradients than people, guide us along the mythmaking until we’ve fully grasped the absurdity of Athena being both the God of wisdom and war. But, as Frank Ocean sings in “No Church in the Wild,” what’s a God to a nonbeliever? Athena burns bright and fast, searing its unforgettable battle cry into the screen over just 99 minutes. Its idealistic action will stay with you for far longer.—Jacob Oller


15. Lou

Netflix Release Date: September 23, 2022
Director: Anna Foerster
Starring: Allison Janney, Jurnee Smollett, Logan Marshall-Green, Ridley Bateman, Matt Craven
Genre: Action Thriller
Rating: R

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Allison Janney gets her Liam Neeson on in this Netflix original thriller about a little girl who’s taken. The Oscar-winning actress stars as the titular Lou, a woman with a complicated past living alone in the woods when her tenant Hannah, played by Jurnee Smollett, reports that her daughter Vee has been kidnapped by the girl’s criminal father.


16. A Jazzman’s Blues

Netflix Release Date: September 23, 2022
Director: Tyler Perry
Starring: Joshua Boone, Amirah Vann, Solea Pfeiffer, Austin Scott, Ryan Eggold, Milauna Jemai Jackson
Genre: Drama
Rating: R

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Tyler Perry wrote, produced and directed this historical drama about murder and forbidden love in the Deep South. Perry wrote the screenplay 27 years ago and has finally been able to bring the story of a jazzman and his juke-joint roots to the small screen as part of his broader deal with Netflix.


17. Do Revenge

Netflix Release Date: September 9, 2022
Director: Jennifer Kaytin Robinson
Starring: Camila Mendes, Maya Hawke, Rish Shah, Sophie Turner, Austin Abrams
Genre: Teen Comedy
Rating: TV-MA

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Do Revenge stars Camila Mendes as it-girl Drea, outcast from her peers after a private video is leaked to the entire school by her faux-feminist ex-boyfriend. Enter Maya Hawke’s Eleanor, a newcomer at their prestigious private school, who was made a social pariah by a girl who claimed she tried to hold her down and kiss her, turning her into a walking predatory lesbian stereotype. The two hatch a plan to take down those that hurt them and, as the title might suggest, do each other’s revenge. This film, most importantly, is a pastel-painted, glittery good time. The dialogue and comedy are anything but dry (unlike Hawke’s unfortunate wig) and harken back to classic ’90s films like Clueless, but with a Gen Z edge. Following in the footsteps of Bodies Bodies Bodies or Crush, Do Revenge lampoons Gen Z’s unique Internet-age experience, while still remaining sincere enough to not feel like a complete parody. With stunning fashion, a lizard hilariously named “Oscar Winner Olivia Coleman” and a swoon-worthy cameo from one of the pillars of the ’90s teen scene, Do Revenge’s most absurd elements are the funniest, and its sardonic humor lends itself to its twisted irony—all underscored by its killer soundtrack. This film has been billed as Hitchcockian, and it delivers on the implied twists and turns, even if some are a tad predictable. Revenge might be a dish best served cold, but Do Revenge revels in the fiery heat of teenage girlhood, ultimately delivering an angry, messy and cathartic good time. —Anna Govert


18. End of the Road

Netflix Release Date: September 9, 2022
Director: Millicent Shelton
Stars: Queen Latifah, Ludacris, Beau Bridges, Mychala Faith Lee, Shaun Dixon, Frances Lee McCain
Genre: Thriller
Rating: R

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Queen Latifah stars as Brenda, a woman who witnesses a gruesome murder at a motel during a road trip and tries to protect her family from the consequences, in this brand new Netflix thriller. Directed by Millicent Shelton (30 Rock, Insecure), the cast also includes Ludacris as Brenda’s brother Reggie and Beau Bridges as the detective investigating the murder.


19. Love in the Villa

Netflix Release Date: September 1, 2022
Director: Mark Steven Johnson
Stars: Kat Graham, Tom Hopper, Laura Hopper, Raymond Ablack
Genre: Romantic Comedy
Rating: TV-14

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Two single, attractive strangers get double-booked in a villa in Verona, but they don’t end up together in this Netflix romantic comedy starring actor/singer Kat Graham and The Umbrella Academy’s Tom Hopper. Just kidding. We haven’t watched this one, but they totally end up together, don’t they.


20. I Came By

Netflix Release Date: August 31, 2022
Director: Babak Anvari
Stars: George McKay, Kelly Macdonald, Hugh Bonneville, Percelle Ascott, Varada Sethu
Genre: Thriller
Rating: TV-MA

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This British thriller follows a graffiti artist, whose habit of tagging homes of the wealthy and powerful puts him in danger when he stumbles across a secret.