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The sheer volume of films on Netflix — and the site’s less than ideal interface — can make finding a genuinely great movie there a difficult task. To help, we’ve plucked out the 50 best films currently streaming on the service in the United States, updated regularly as titles come and go. And as a bonus, we link to more great movies on Netflix within many of our writeups below. (Note: Streaming services sometimes remove titles or change starting dates without giving notice.)

Here are our lists of the best TV shows on Netflix, the best movies on Amazon Prime Video and the best of everything on Disney Plus.

A typical ’80s teen gets zapped back to the 1950s, where he makes some uncomfortable discoveries about his then-teenage parents (and accidently prevents them from meeting, imperiling his own existence) in this “sweet, ingenious” comedy from the director Robert Zemeckis. Michael J. Fox mines endless laughs from the character’s confusion and desperation, while Crispin Glover and Lea Thompson are marvelously eccentric as his mother- and father-to-be. But Christopher Lloyd steals the show as the likably mad scientist whose time machine sets the entire dizzy business into motion. (For more ’80s fun, queue up “Ferris Bueller’s Day Off.”)

Gene Wilder created one of cinema’s most enduring characters in this 1971 adaptation of Roald Dahl’s classic novel “Charlie and the Chocolate Factory,” directed by Mel Stuart. As the gloriously eccentric owner of the best candy factory in all the land, Wilder invests his character with not only a sense of wonder and imagination, but also a surprising edginess — this is ultimately a morality tale, in which a guided tour of the factory becomes a lesson in the consequences of childish behavior. Innovatively crafted and filled with memorable songs and supporting characters, this is a family film with a welcome dash of darkness.

“This camp changed the world,” we’re told, in the early moments of James LeBrecht and Nicole Newnham’s documentary, “and nobody knew about it.” The most refreshing and surprising element of this moving chronicle is that, title notwithstanding, the subject is not Camp Jened, the Catskills getaway that offered disabled kids and teens a “normal” summer camp experience. It’s about how that camp was the epicenter of a movement – a place where they could be themselves and live their lives didn’t have to be a utopian ideal, but a notion that they could carry out into the world, and use as a baseline for change.

This grindhouse take on WWII adventure movies won Quentin Tarantino his second Oscar for best original screenplay — and it’s certainly original, imagining an outcome for the Third Reich that departs gorily (and gleefully) from the historical record. Brad Pitt is the drawling leader of an elite unit of Nazi-hunters; Mélanie Laurent is the Jewish cinema proprietor with an eye on revenge. But the star of the show is Christoph Waltz, who also won an Academy Award for his giddy, menacing and unforgettable turn as a particularly ruthless SS colonel. (Tarantino’s next revisionist history, “Django Unchained,” is also streaming on Netflix.)

The rise (and rise and rise) of the Facebook founder Mark Zuckerberg is loosely dramatized in this “fleet, weirdly funny, exhilarating, alarming and fictionalized”drama from the director David Fincher and the screenwriter Aaron Sorkin. Jettisoning the conventions of bio-drama and tech exposé, Fincher and Sorkin construct something akin to a 21st-century “Citizen Kane”: the haunting story of a media mogul who finds that all his riches and all his power cannot fill the hole in his soul. (Another Sorkin-penned story of a Silicon Valley giant, “Steve Jobs,” is also available on Netflix.)

This daringly bold fusion of sci-fi, body horror and unnerving erotica uses stylized visuals and an unsettling soundtrack to immerse us in “a mood of nightmarish alienation.” What could have been mere exploitation is made haunting by the director Jonathan Glazer’s execution and Scarlett Johansson’s hard-edged performance. The ruthlessness of her quest to consume eager men, and the murkiness of her motives, make for some truly upsetting and horrifying interactions (particularly in terms of collateral damage). You’re never quite sure where Glazer is going, but he fills his frames with such menace and dread that you simply can’t look away. (For more unnerving, female-fronted horror, check out “The Blackcoat’s Daughter.”)

The Oscar-nominated director David France (“How to Survive a Plague”) pays overdue tribute to Ms. Johnson, affectionately nicknamed the Mayor of Christopher Street, telling the story of her eventful life through interviews with friends and fascinating archival footage. And by framing her story as an investigation into her mysterious death 25 years before — an investigation led by Victoria Cruz, another transgender activist — France draws an explicit and affecting parallel to the violence against transgender women of color today. The result is both a powerful look at our past and a frightening snapshot of our present. (If you love socially conscious documentaries, check out “13TH” on Netflix.)

Edgar Wright (“Baby Driver”) helms this unique action/comedy with a zippy graphic-novel aesthetic. Though it’s based on a comic book series and filled with video game-inspired sequences, viewers need not be familiar with either; Wright merely borrows the high-energy visual language of those genres to tell his sweet story more exuberantly and playfully. “Pilgrim” snaps and crackles, veering from one disarming set piece to the next with verve and vitality; A.O. Scott praised its “speedy, funny, happy-sad spirit.” And it’s a “before they were stars” extravaganza, presciently filled with talented young actors (Brie Larson, Anna Kendrick, Aubrey Plaza, Mae Whitman, Alison Pill, and many more) who were just about to pop. (For more wild comedy, check out “To Wong Foo, Thanks for Everything, Julie Newmar.”)

The director Steven Soderbergh built his first full-on action flick as a vehicle for the mixed martial artist Gina Carano and constructs its set pieces with reverence for her skill and athleticism. It’s a joy to watch her fight, and Soderbergh gives her plenty of opportunities to beat the daylights out of her male co-stars. Refreshingly, the sly, Bond-like script isn’t just filler between those encounters; instead, the globe-trotting story and its layers of deceptions and double-crosses give the director the freedom to make one of his most stylish and entertaining pictures. (For more high-intensity action, queue up “Train to Busan.”)

The director of “Tangerine,” Sean Baker, returns with another warm and funny portrait of life on the fringes, melding a cast of nonactors and newcomers with an Oscar-nominated Willem Dafoe as the manager of a cheap Orlando motel populated by confused tourists and barely-managing families. The script (by Baker and Chris Bergoch) captures, with startling verisimilitude, the anxieties of living paycheck-to-paycheck (particularly when the next paycheck’s very existence is uncertain) while also borrowing the devil-may-care playfulness of the children at the story’s center. Our critic called it “risky and revelatory.” (Fans of this risky drama may also enjoy “The Kindergarten Teacher.”)

“You must dedicate your life to mastering your skill,” Jiro Ono explains. “That is the key to happiness.” He has certainly mastered his skill; his 10-seat sushi-only Tokyo eatery is recognized the world over and is less a restaurant than a temple. But has that perfectionism made him (or the people around him) happy? David Gelb’s mouthwatering 2012 documentary poses that question and further explores his philosophies of life and work, while also assembling a healthy dose of stunning “food porn,” painstakingly capturing the careful preparation of Ono’s culinary gifts and lovingly lingering on the results. (Documentary fans should also seek out “Elena” and “Blackfish” on Netflix.)

Documentary filmmakers have long been fascinated by the logistics and complexities of manual labor, but Steven Bognar and Julia Reichert’s recent Oscar winner for best documentary feature views these issues through a decidedly 21st-century lens. Focusing on a closed GM plant in Dayton, Ohio, that’s taken over by a Chinese auto glass company, Bognar and Reichert thoughtfully, sensitively (and often humorously) explore how cultures — both corporate and general — clash. Manohla Dargis calls it “complex, stirring, timely and beautifully shaped, spanning continents as it surveys the past, present and possible future of American labor.” (Netflix’s 2018 Best Documentary winner, “Icarus,” is also currently streaming.)

Martin Scorsese re-teams with Robert De Niro and Joe Pesci for the first time since “Casino” (1995), itself a return to the organized crime territory of their earlier 1990 collaboration “Goodfellas” — and then adds Al Pacino as Jimmy Hoffa. A lazier filmmaker might merely have put them back together to play their greatest hits. Scorsese does something far trickier, and more poignant: He takes all the elements we expect in a Scorsese gangster movie with this cast, and then he strips it all down, turning this story of turf wars, union battles and power struggles into a chamber piece of quiet conversations and moral contemplation. A.O. Scott called it “long and dark: long like a novel by Dostoyevsky or Dreiser, dark like a painting by Rembrandt.” (Gangster movie fans should also queue up “The Road to Perdition.”)

Noah Baumbach’s searing, Bergman-esque drama is the story not of a marriage, but of its end — of a loving couple who just, as they say, grew apart, but whose uncoupling is nowhere near that organic. Their shifting of priorities and geographic preferences prompts the hiring of lawyers, the spending of savings, and the stating of old resentments and regrets better left unsaid. Baumbach’s screenplay is full of tiny, human touches and graceful tonal shifts; he can move from screwball comedy to open-wound drama in the blink of an eye. “It’s funny and sad, sometimes within a single scene,” writes A.O. Scott, “and it weaves a plot out of the messy collapse of a shared reality, trying to make music out of disharmony.” (If you like this prickly comedy/drama, queue up the Oscar-winning “As Good As It Gets.”)

This vivid, evocative memory play from Alfonso Cuarón is a story of two Mexican women in the early 1970s: Sofía (Marina de Tavira), a mother of four whose husband (and provider) is on his way out the door, and Cleo (Yalitza Aparicio), the family’s nanny, maid and support system. The scenes are occasionally stressful, often heart-wrenching, and they unfailingly burst with life and emotion. Our critic called it “an expansive, emotional portrait of life buffeted by violent forces, and a masterpiece.”

This series-spawning smash is a gloriously inventive stew of dystopian future sci-fi, Hong Kong-style “gun fu,” turn-of-the-century paranoia and jaw-dropping special effects. Its big action set pieces have been imitated to death, but rarely with the visceral energy and giddy enthusiasm brought by the Wachowskis, two independent filmmakers who were given the tools and budget of a big studio picture and had an absolute blast. Our critic called it “a furious special-effects tornado.” (Fans of the film’s wuxia-style action will also want to stream “Shadow.”)

Two young men weather their Park Slope parents’ nasty divorce in this ruthlessly intelligent and mercilessly evenhanded coming-of-age story from the writer and director Noah Baumbach, who drew upon his own teen memories and put himself, not altogether complimentarily, into the character of the 16-year-old Walt (a spot-on Jesse Eisenberg). Laura Linney is passive-aggressive perfection as his mother, while Jeff Daniels, as the father, masterfully captures a specific type of sneeringly dissatisfied Brooklyn intellectual. The film is “both sharply comical and piercingly sad,” as A.O. Scott wrote, as Baumbach dissects this family’s woes and drama with knowing precision. (Fans of misanthropic comedy may also enjoy “Her or “The Lobster.”)

The fashion designer turned filmmaker Tom Ford made his feature directorial debut with this moving, melancholy (and, unsurprisingly, aesthetically stunning) adaptation of the novel by Christopher Isherwood.  An Oscar-nominated Colin Firth stars as George, a college professor and “bachelor,” as gay men in his era were so often euphemistically known. Accompanying George through one long, difficult day — the anniversary of the death of his boyfriend — Ford burrows deep into the tortured psyche of his protagonist, and Firth is up to the challenge, playing the role with what Manohla Dargis called “a magnificent depth of feeling.” (Firth shines again in “The King’s Speech.”)

A Puritan family, banished to the woods of New England by its community, encounters a frightening force of true evil in this potent mixture of art-house drama and supernatural thriller from the writer and director Robert Eggers. Resisting jump-scares and cheap thrills in favor of slow burns and discomforting dread, Eggers builds his story to a climax that seems both terrifying and inevitable. Our critic called it “a finely calibrated shiver of a movie.” (For more creepy horror, stream “Sinister” on Netflix.)

Tom Hanks won his first Academy Award for what our critic called his “brave, stirring, tremendously dignified performance” in this 1993 drama from director Jonathan Demme, which was among the first studio productions to address the AIDS crisis. Hanks plays an H.I.V.-positive lawyer, fired from his firm because of his illness; Denzel Washington stars as the homophobic personal-injury attorney representing Hanks in an unlawful termination suit and learning the error of his prejudices in the process. (For more Oscar-winning drama, stream “The Crying Game,” Mystic River” or “Guess Who’s Coming to Dinneron Netflix.)

Sofia Coppola takes on conspicuous consumption, Millennial malaise, and upper-class entitlement in this darkly funny and stylishly thought-provoking true story (adapted from a Vanity Fair article by Nancy Joe Sales). Emma Watson leads a crew of young, attractive rich girls who spent years helping themselves to the homes (and spoils) of their famous neighbors, partying in Paris Hilton’s “nightclub room” and casually lifting Lindsay Lohan’s jewelry. Coppola refuses to condemn their crimes or apologize for them; it is, A.O. Scott wrote, “neither a cautionary tale of youth gone wrong nor a joke at the expense of kids these days.”

Brie Larson won an Oscar for her powerful leading performance in this moving adaptation of the novel by Emma Donoghue, in which a woman held for years in captivity tries to escape from her kidnapper with the help of her young son. Lenny Abrahamson’s intimate direction emphasizes the claustrophobia of their surroundings, but tantalizes with the promise and possibility of escape. (Indie drama lovers may also enjoy “Burning Cane” and“A Serious Man.”)

Kathryn Hahn and Paul Giamatti shine as two New York creative types whose attempts to start a family — by adoption, by fertilization, by whatever it takes — test the mettle of their relationships and sanity. The wise script by the director Tamara Jenkins is not only funny and truthful but also sharply tuned to their specific world: Few films have better captured the very public nature of marital trouble in New York, when every meltdown is interrupted by passers-by and looky-loos. “Private Life,” which our critic called “piquant and perfect,” is a marvelous balancing act of sympathy and cynicism, both caring for its subjects and knowing them and their flaws well enough to wink and chuckle. (The funny, moving “Obvious Child” is another wise look at living, and getting pregnant, in New York City.)

We’ve seen countless stories of nasty, selfish people who go on a voyage of self-discovery and come out the other side as better, wiser souls. This acidic comedy-drama asks: What if that journey didn’t take? Mavis Gary (Charlize Theron, in take-no-prisoners mode), a bitter young-adult author, returns to her hometown in the hope of reuniting with her high-school boyfriend, his picture-perfect married life be damned. A film that zigs when you’re certain it will zag, “Young Adult” tells a satisfying story that is also a sly critique of the conventions of modern moviemaking. Our critic praised its “brilliant, brave and breathtakingly cynical heart.” (For more dark comedy, check out “The Death of Stalin.”)

A 52-year-old Georgian woman shocks her family, and her entire community, when she decides to move out of the cramped apartment she shares with her husband, children and parents in order to begin a life of her own. “In this world, there are no families without problems,” she is told, and the conflicts of the script by Nana Ekvtimishvili (who also directed, with Simon Gross) are a sharp reminder that while the cultural specifics may vary, familial guilt and passive aggression are bound by no language. Manohla Dargis praised its “sardonically funny, touching key.” (For more critically acclaimed foreign drama, try “Burning” or On Body and Soul.”)

Jennifer Lawrence won the Oscar for best actress for her spectacularly sassy and unapologetically haunted performance in David O. Russell’s (somewhat loose) adaptation of Matthew Quick’s novel. It’s a balancing act of seemingly contradictory tones and styles, slipping nimbly from serious mental-health drama to screwball comedy to romance thanks to the deceptive casualness of Russell’s approach and the skill of his cast — particularly Bradley Cooper as its unsteady protagonist and Robert De Niro and Jackie Weaver (all also Oscar nominees) as his parents. Our critic called it “exuberant” and “a delight.” (“The Two Popes,” surprisingly enough, is a similarly effective mixture of serious drama and light comedy.)

Gary Oldman is a marvel as George Smiley, the British intelligence agent at the center of this adaptation of the novel by John le Carré. It’s the kind of performance that draws its power from a character’s refusal to raise his voice: One gets the feeling he’s done what he’s done for so long, with such awareness of his own creeping obsolescence, that he can hardly be bothered. Manhola Dargis called it a performance of “delicacy and understated power,” and around it, the director Tomas Alfredson (“Let the Right One In”) mounts the best big-screen interpretation of le Carré’s work to date.

Mati Diop’s Cannes Film Festival Grand Prix winner is set in Senegal, where a young woman named Ava (Mama Sané) loses the boy she loves to the sea, just days before her arranged marriage to another man. What begins as a story of love lost moves, with the ease and imagination of a particularly satisfying dream, into something far stranger, as Diop savvily works elements of genre cinema into the fabric of a story that wouldn’t seem to accommodate them. A.O. Scott called it “a suspenseful, sensual, exciting movie, and therefore a deeply haunting one as well.”

Jonathan Demme’s final feature film was shot on the last two nights of Justin Timberlake’s “20/20 Experience” world tour, at the MGM Grand in Las Vegas. The pairing of director and subject is unexpected, but Demme is up to the job; as in his Talking Heads film “Stop Making Sense,” he deftly captures the energy, electricity and playfulness of a live concert performance, a directorial feat that is harder than it looks. (Fans of more traditional movie musicals should check out Baz Luhrmann’s “Strictly Ballroom.”)

The director Mark Osborne (“Kung Fu Panda”) took an unconventional approach to adapting the classic children’s book by Antoine de Saint-Exupéry for the screen, placing its story of an aviator’s encounters with a magical little boy inside a contemporary tale of a little girl’s friendship with that aviator (now a grizzled old man). It sounds like a recipe for disaster, fixing a book that isn’t broken, but “The Little Prince” is a small miracle, maintaining the magic and sweetness of the original while contextualizing it for a new generation. Our critic called it “unusually forceful and imaginative.” (Younger viewers will also enjoy “A Little Princess” and “The Princess and the Frog.”)

The 2017 Academy Award winner for best picture, this triptych about a young, gay African-American man’s coming of age in Miami is a quietly revelatory piece of work, exploring and challenging modern perceptions of masculinity, family, power and love. Director Barry Jenkins (adapting a play by Tarell Alvin McCraney) creates a world so dense with detail and rich with humanity that every character gets a chance to shine; the themes and ideas are all above board, but conveyed with subtlety and understatement. Our critic described it as “a poem written in light, music and vivid human faces.” (For more character-driven coming-of-age drama, check out “School Daze.”)

Before “Captain Marvel,” the directors Anna Boden and Ryan Fleck teamed with Ben Mendelsohn (and another superhero movie star, Ryan Reynolds) for this laid back, on-the-road gambling picture, featuring Mendelsohn and Reynolds as a pair of longtime losers reaching for that one big score that will make everything right. The supporting cast is rich — Alfre Woodard, Sienna Miller and Analeigh Tipton all shine — and like the 1970s cinema it so clearly draws from, “Mississippi Grind” has what our critic called “a loose, behind-the-beat rhythm.” (Card sharps will also want to add “Rounders” to their queues.)

Paul Thomas Anderson burst onto the scene with “Boogie Nights,” his blazing, energetic, Altman-esque tapestry of life in the seedier corners of the San Fernando Valley, circa 1977. His follow-up is much in the same style (and brings back much of the same cast), but with the filmmaker going for broke, creating a rich, lengthy (over three hours), mournful and often scathingly funny narrative of several interlocking lives over a single, extraordinary day. Operatic in its emotions and ambitions, it’s Anderson’s messiest work, yet one of his very best. (Anderson’s later Oscar winner “There Will Be Blood” is also streaming on Netflix.)

As the married couple Cindy and Dean, Michelle Williams and Ryan Gosling are “exemplars of New Method sincerity,” according to A.O. Scott, “able to be fully and achingly present every moment on screen together.” Their director, Derek Cianfrance, tells this story in pieces as they come together and fall apart, in timelines separated by six years of hard, unsatisfying living (but shot with only a month between them, an astonishing feat of physical and psychological acting). Aching and heartfelt, the film is an often upsetting yet undeniably powerful account of how not all love stories end in “happily ever after.” (Gosling is similarly forceful and effective in the cult hit “Drive.”)

Guillermo Del Toro’s 2006 Oscar winner is many things: a lush period drama, a dark fairy tale, a special-effects showcase, a valentine to fantasy cinema, a harrowing fable of Fascism. Yet Del Toro’s filmmaking is so confident that the picture’s tone never wavers; he’s such a thrilling storyteller that we follow his protagonist (the marvelous Ivana Baquero) through every dark passageway and down every mysterious rabbit hole on her mystical journey through Franco-era Spain — and out of the clutches of her evil stepfather. It’s both scary and enchanting, terrifying and dazzling; “If this is magic realism,” writes A.O. Scott, “it is also the work of a real magician.” (For a more traditional love letter to the movies, queue up “The Artist.”)

The 2013 winner of the Academy Award for best documentary feature, this “hugely appealing documentary” (per Manohla Dargis) functions as both celebration and investigation. The director Malik Bendjelloul tells the fascinating story of Rodriguez, a Mexican-American singer-songwriter who recorded one brilliant album in 1969 and watched it sink without a trace, only to resurface years later as a cult smash in South Africa. How that happened, and what happened to Rodriguez in the meantime, forms the spine of this inspiring picture, which deftly incorporates archival footage, new interviews, dreamy animated sequences and Rodriguez’s spellbinding songs. (Love music documentaries? Check out “Amy” and “20 Feet From Stardom.”)

A young man’s coming of age becomes a group project when his single mother (Annette Bening) reaches out to their housemates and friends for help, resulting in a slightly more complicated education than she envisioned. This touching and personal dramedy from the writer-director Mike Mills (“Beginners”) deftly conveys the period without relying on caricature, and resists resorting to cheap villainy or soapboxing. Every character is brought to life with humor and sensitivity, and Bening’s work is among her very best. Manohla Dargis deemed it “a funny, emotionally piercing story.” (Love tender teen coming-of-age flicks? Queue up “The Edge of Seventeen.”)

The British comedy troupe Monty Python created its funniest, wildest and cult-friendliest feature-length comedy with this 1975 send-up of the legend of King Arthur — and of medieval literature in general, and of big-screen epics. Graham Chapman is the ostensible lead as Arthur, leading his Knights of the Round Table on a quest for the Grail, but the plot is merely a clothesline on which to hang blackout sketches and self-aware gags, and there are many. Our critic called it “a marvelously particular kind of lunatic endeavor.” (For more fun with Python, queue up the button-pushing 1979 Biblical spoof “Life of Brian.”)

It sounds like the setup for an ’80s sex comedy: Two horny teenage boys take an impromptu road trip and talk a seductive older woman into coming along. But the director, Alfonso Cuarón (“Gravity,” “Children of Men”), “Y Tu Mamá También” frames their story partly through the unexpected but effective lens of class and political struggle, constructing a delicate film with much to say about masculinity, poverty and mortality. And then it’s sexy, on top of that. Our critic called it “fast, funny, unafraid of sexuality and finally devastating.” (For more adventurous foreign cinema, check out “Happy as Lazzaro.”)

This unsettling, unforgettable snapshot of urban decay and toxic masculinity from Martin Scorsese hauntingly captured the rotting core of post-Watergate American society when it was released in 1976, and it has remained nestled in our collective unconscious ever since. Robert De Niro had one of his most indelible performances as Travis Bickle, the haunted Vietnam vet who drives New York City at night like a coiled snake ready to strike. Our critic called it “one of the most compelling portraits of a lunatic personality I’ve ever seen on film.”

The fates of two families — one white and one black, connected by a plot of land one owns and the other sharecrops — are inextricably intertwined in this powerful adaptation by the director Dee Rees of the novel by Hillary Jordan. Rees gracefully tells both stories (and the larger tale of postwar America) without veering into didacticism, and her ensemble cast brings every moment of text and subtext into sharp focus. Our critic called it a work of “disquieting, illuminating force.” (For more period drama, check out Darnell Martin’s “Cadillac Records” and Barry Levinson’s “The Natural.”)

It is easy to imagine Bill Murray and the director Harold Ramis taking the premise of a smarmy jerk who relives the same day over and over again and turning it into an ’80s-style “high-concept” comedy, full of wisecracks and silly situations. Instead, they turned it into their generation’s “It’s a Wonderful Life,” making a film that is filled with comic invention while vibrating with warmth and humanity (without succumbing to the saccharine). Our critic called it “a particularly witty and resonant comedy.” (For more classic contemporary comedy, add “Tootsie” to your queue.)

This brainy sci-fi story from director Duncan Jones (“Mute”) is almost entirely a one-man show, and Sam Rockwell, as a working-class astronaut on a solo mission, is the man for the job — he’s alternately tragic, funny, driven and bitter, often in the same scene, frequently playing to himself. “Moon” is thrilling and thought-provoking, with a stunning finale. Our critic called it a “modest, haunting first feature.” (Fans of thoughtful sci-fi dramas will also enjoy “Ex Machina.”)

The director David Mackenzie (“Starred Up”) draws on the mythos of classic Westerns to tell this contemporary story of robbers driven to crime not by greed and status but by economic distress and desperation. Ben Foster’s trigger-happy thrill-seeker, Chris Pine’s rational man with a purpose and Jeff Bridges’s wise old lawman are so well drawn and authentically acted that the dialogue scenes are as thrilling as the shootouts. Our critic praised the “verve and tongue-tickling texture” of Taylor Sheridan’s dialogue. (For a lighter small-town story, check out Robert Altman’s laid-back and lovely “Cookie’s Fortune.”)

A marvelously absurd, stingingly satirical and unexpectedly moving story of a girl and her genetically engineered super-pig, this Netflix original from the director Bong Joon Ho is the kind of movie that goes in so many wild directions at once — urban mayhem one moment, character drama the next — it leaves you breathlessly off-balance. Bong coaxes game and unpredictable performances from his gloriously unhinged cast, with particularly juicy turns by Tilda Swinton and Jake Gyllenhaal. A.O. Scott raved, “Mr. Bong juggles delight and didacticism with exquisite grace.” (For more Bong, check out his previous film, “Snowpiercer”; for more Gyllenhaal, stream “End of Watch”.)

Steven Spielberg adapts Tintin, the beloved creation of the Belgian cartoonist Georges Remi, for this charming family adventure. In doing so, Spielberg reconnects with the spirit of his Indiana Jones adventures, which were similarly globe-trotting and fun-loving in the manner of the old Saturday serials — though he adds a decidedly modern sheen in the form of motion-capture animation. The result is a cheerful intermingling of old and new, which our critic called “a marvel of gee-wizardry.” (For more seafaring family fun, stream Robert Altman’s “Popeye” on Netflix.)

Between his second and third Batman outings, the director and co-writer Christopher Nolan crafted one of his twistiest and most satisfying entertainments, a mystery/thriller that delves into nothing less ambitious than the human dreamscape. Leonardo DiCaprio is in fine, tortured form as a high-tech dream manipulator on a high-stakes caper inside the head of a slumbering CEO; Tom Hardy, Ellen Page, Joseph Gordon-Levitt, and Marion Cotillard are among the stacked supporting cast. Our critic praised “Mr. Nolan’s virtuosity as a conjurer of brilliant scenes and stunning set-pieces.” (Thriller fans will also enjoy Matt Damon in “The Talented Mr. Ripley.”)

Fresh off the success of his genre-bending “spaghetti westerns,” the director Sergio Leone brought his signature dusty landscapes, offbeat music, brutal violence and morally flexible protagonists to this Hollywood studio production. Henry Fonda is truly chilling as a ruthless villain, conveying a pure evil not even hinted at in his decades of good-guy turns, and the film’s heroine (Claudia Cardinale) and her tough-guy companions (Charles Bronson and Jason Robards) make an unlikely but effective team. Atmospheric, bracing and effortlessly cool, with an unforgettable closing confrontation. (For a funnier exploration of Western mythos, check out “The Ballad of Buster Scruggs.”)

A whip-smart fusion of action, sci-fi and film noir from the director Steven Spielberg, who takes his inspiration from a Philip K. Dick story and augments its futuristic narrative with questions about fate, free will and absolute morality. But Spielberg also delivers the popcorn goods, displaying a peerless mastery of film craft and technical wizardry, delivering a breathless but thoughtful blockbuster. Our critic called it “a restless genre picture, which happens to be the area in which Mr. Spielberg works best.” (For more thoughtful, genre-infused drama, stream “Killing Them Softly” on Netflix.)



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