It tops the list of Best Movies on Netflix in December. And hopefully our movie guide will help you discover some great films this month. For extensive guides to the best movies on other platforms like HBO, Amazon Prime, Hulu, Showtime, Redbox, On Demand, You. Tube, Shudder and The Best Movies in Theaters, visit the Paste Movie Guides. You can also check out our genre- specific lists: The 5. Best Comedies on Netflix. The 6. 0 Best Dramas on Netflix. The 6. 0 Best Action Movies on Netflix. The 2. 5 Best Sci- Fi Movies on Netflxi. Movies from the IMDb Top 250 Available on. It's compilation of all of the the movies from the IMDb's Top 250 that are available for steaming on Netflix Watch.Netflix and the IMDb Top 250. We wanted to know which of the IMDB Top 250 movies were available for streaming on Netflix. So, we built this page as a utility for your. Think you've seen everything worth watching on Netflix? Here is every movie from IMDb's Top 250. IMDB Top 250 Streaming on Netflix. The 5. 0 Best Documentaries on Netflix. The 6. 0 Best Horror Movies on Netflix. The 5. 0 Best Romantic Comedies on Netflix. The 2. 0 Best Animated Movies on Netflix. The 5. 0 Best Foreign- Language Films on Netflix. The 2. 0 Best Martial Arts Movies on Netflix. Here are the 1. 00 Best Movies Streaming on Netflix in December 2. Tangerine Year: 2. Director: Sean S. Baker. Tangerine is about Sin- Dee (Kitana Kiki Rodriguez) and Alexandra (Mya Taylor), two transgendered prostitutes working Santa Monica Boulevard. Sin- Dee is our miffed heroine, fresh off a prison stint and newly aware that her beau/pimp Chester (James Ransone) cheated on her with a cisgendered white gal. Tangerine is lurid, ribald and sleazy in the best ways possible, because it’s suffused with rich empathy. Baker’s aesthetic boasts neon vibrancy—the kind of sparks only real life can generate—but amidst the bombastic crackle of his mise en sc. Sixteen Candles Year: 1. Director: John Hughes. It’s the movie that made Molly Ringwald a star, and rightfully so: as Samantha, the everywoman whose parents forgot her birthday and whose crush doesn’t know she exists, she appeals to the angsty high- schooler yearning to be seen in all of us. Samantha’s undeniably middle- of- the- road—she’s not popular, but she’s not a geek; her home life is messy, but it’s not dysfunctional—and that gives her mass appeal, so much so that her story’s become sort of a modern fairy tale, the American Dream of teen romantic comedies. Exit through the Gift Shop Director: Banksy Year: 2. When renowned graffiti artist Banksy took the camera away from Thierry Guetta, the man shooting his biopic, and decided that the subject would become the documentarian (and the documentarian, the subject), an incomparably zany (and very, very funny) documentary was born. Brainwash, as Guetta christens himself, puts on the largest and most profitable street art exhibition in history. The film never quite takes a side on the Warholian question of whether Guetta/Mr. Brainwash is actually a legitimate artist or has merely convinced enough people that he is—or whether those are one and the same, or whether it even matters. But the most compelling theme of the film is its cinematic exploration of Heisenberg’s Uncertainty Principle: That a phenomenon cannot be observed or measured without simultaneously changing it. Guetta never puts spray can to wood until he’s being documented by Banksy. Does that mean Banksy made him what he is? Destroyed, in some sense, what he was? And is that good or bad, or neither? Banksy’s not saying.—Michael Dunaway. Nymphomaniac: Volume I Year: 2. Director: Lars von Trier “Which way do you think you’ll get the most out of my story—believing me or not believing me?” asks the central character in writer- director Lars von Trier’s new film. She’s an emotionally broken, physically beaten sex addict recounting her life less ordinary to an ascetic bachelor with a passion for fly- fishing, but the words might as well be from the filmmaker himself. In Nymphomaniac: Volume I, he’s inviting viewers to come along on a lurid trip, to submit to a survey of longing (emotional as much as sexual) threaded with intellectual riffs big and small, and allusions to dozens of other works. The movie’s sex scenes are indeed the fulcrum on which the movie turns. But the film’s graphic sequences are only shocking, really, insofar as how well they abut and serve the more discrete stories the narrator tells.—Brent Simon. Results Results is a significant departure for Andrew Bujalski. While relatively low- budget, this is the director’s biggest film to date—there’s no shaky camerawork or poor sound quality here, and working, notable actors are seemingly getting working day rates. Bujalski’s Funny Ha Ha, in 2. There’s certainly more polish from Cobie Smulders, Guy Pearce and Kevin Corrigan, but their performances—refined and, admittedly, “professional”—only enhance the lived- in nature of the characters Bujalski’s created. These characters all happen to be rather pathetic, emotionally stunted and odd human beings—but you can’t help but become invested in their lives, each with their own endearing quirks, each amusing in their own way to discover and observe. The film is a series of tiny, revealing moments. Meek’s Cutoff Year: 2. Director: Kelly Reichardt Leave it to Kelly Reichardt to reclaim the Western for women. Western movies tend to be seen as “guy” affairs, less so now in 2. Westerns in front of and behind the camera. What Reichardt does in Meek’s Cutoff is shunt the men to the side and confront the bullshit macho posturing that is such an integral component of the Western’s grammar; the only man here worth his salt is Stephen Meek (Bruce Greenwood), and even he is kind of an incompetent, entitled scumbag. So it’s up to Emily Tetherow, played by the great and luminous Michelle Williams, to challenge his self- appointed authority and take responsibility for the people in the caravan he has led so far astray from their path. Meek’s Cutoff is a stark, minimalist film, which is to say it’s a Kelly Reichardt film. The stripped- down, simmering austerity of her aesthetic pairs perfectly with the sensibilities of Western cinema.—Andy Crump. Jesus Camp Year: 2. Directors: Heidi Ewing, Rachel Grady. This hard- to- watch film follows three children who attend a charismatic Christian summer camp called Kids On Fire in North Dakota. The kids speak in tongues, believe global warming is a political conspiracy, and bless a cardboard cutout of George W. There’s no need for a narrator or editorial opinion—the footage says it all. It’s no surprise that the camp closed after the film’s release.—Kate Kiefer. Love Actually Year: 2. Director: Richard Curtis. When it comes to portraying love confessions of all varieties, very few can beat the kind on display in Richard Curtis’ epic romantic comedy Love Actually. In one of the many romantic threads, Juliet (Keira Knightley), a recently married woman, has just discovered that her husband’s best friend Mark (Andrew Lincoln) has been nursing a secret crush on her. One night, he arrives at their front door and silently delivers his long repressed feelings via hand- drawn cue cards. While certainly sweet and heart- warming, the inherent sadness that pervades this scenario—such a relationship can never work out between the two—prevents the exchange from being overly saccharine.—Mark Rozeman. Dope Year: 2. 01. Director: Rick Famuyiwa. At its core, Dope is a coming- of- age story told from the black geek perspective. Malcolm (Shameik Moore) is a brainy high school student who’s trying to leave “The Bottoms” of Inglewood, California. This isn’t a straight- up, feel- good comedy—drugs and gangs aren’t easy comic fodder—but Dope satirizes preconceived notions of race and culture. Famuyiwa keeps things entertaining while still posing hard- hitting questions to the characters and audience. Dope’s infectious energy, and Famuyiwa’s tendency to throw genre and stereotypes to the wind, is refreshing. Tinker Tailor Soldier Spy Year: 2. Director: Tomas Alfredson. Steeped in the monochrome color palette and noir soundtrack of 1. Tomas Alfredson’s adaptation of John le Carr. Set in 1. 97. 3 at the height of the Cold War, the film turns on the suspicion that a double agent has infiltrated Britain’s Secret Intelligence Service (SIS), a. Shortly after a botched operation to ferret out the mole ends his career, Control (John Hurt) dies, leaving his investigation in the hands of retired operative George Smiley (Gary Oldman). With grayed blond hair and owlish glasses, Oldman disappears into his role, not only physically but behaviorally. Smiley is a still man, watching and waiting, while his mind whirs, processing and analyzing years’ worth of data, information and memories.—Annlee Ellingson. Chef Year: 1. 99. Director: Jon Favreau Jon Favreau took a break between the $1. Cowboys & Aliens and Disney’s live- action remake of The Jungle Book to write, direct and star in a small indie comedy- drama about a celebrated chef rediscovering his love for food. When the owner of his restaurant (Dustin Hoffman) won’t let him experiment in the kitchen and his social- media ignorance leads to a very public feud with a food critic (Oliver Platt), he quits and buys a food truck. The road- trip that follows is the sweet, earnest heart of the film—reconnecting with his son as he reconnects with a passion for food. There’s not much to the straight- forward plot, but the film’s humor and mouth- watering food porn make it a treat.—Josh Jackson. Grizzly Man Director: Werner Herzog Year: 2. Leave it to Werner Herzog to take on a subject as peculiar and tragic as that of Timothy Treadwell, the bear enthusiast who, along with his girlfriend, was killed by his wild obsession in 2. A sing- songy, pleasant, dangerously deluded man who believed his beloved grizzly companions knew and trusted him, Treadwell, over the course of 1. US Netflix offers only 31 of IMDb's top 250 movies. 250 movies as voted by users of the Internet Movie. Title Year Genre Rating Available Director. Rotten Tomatoes Top 100 Movies on Netflix. Laura (1944) Metropolis Restored (1927) Short Term 12. These are the 101 best movies on. IMDB Top 250 Movies on Netflix. Here at The Best of Netflix. I’ve checked out what movies from the IMDB TOp 250 are on Netflix AU, and it’s a lot shorter. Alaskan national parks, approached bears with both a religious reverence and folksy casualness—the latter of which arguably cost him his life. Treadwell self- anoints himself “kind warrior” and, alternately, “samurai,” and at one point tellingly declares that animals rule, but “Timothy conquered.” Rooted in Treadwell’s own footage, Grizzly Man will divide camps between those who find him a reckless idiot and those who enjoy him as a kooky nature lover, or both.
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