At the end of a few months, many, many Famend movies leave the Netflix platform. But at the end of the other months, take January 2025, for example, there’s not exactly a ton of Star Force on the list. But that, my frifinish, is a blessing in disguise, because it’s your chance to notice wonderful underrated movies flying under the radar. This month on specific sports, some hidden gems, adding a slow-moving combustion horror movie featuring Alison Brie and Jeremy Allen White, a Scandinavian crisis movie featuring wonderful characters and incredible cinematography, and an action movie featuring Jackie Chan from the director of two of the ultimate revered films in a critical way. These movies aren’t well-known, but they deserve your attention and, because it’s a few days to leave Netflix, your time too.
So what movies shouldn’t you miss before they leave Netflix at the end of January 2025? Below, you’ll find ten movies that I recommend. Each recommendation includes a plot description, who stars in the movie, a trailer and why you should watch it. Then at the bottom of the article, I put together a comprehensive list of every film that’s leaving Netflix before February. I hope you find your next movie night movie in this bunch!
The transition from action to staging is not difficult. Not everyone can knock it off, and obviously it can feel clumsy on set when someone doesn’t have staging skills. However, this was not the case for Dave Franco, who brought an undeniable vibe to his mental horror story, the Hireal. The film follows two couples: Charlie (Dan Stevens) and his wife Michelle (Alison Brie), as well as Charlie’s brother Josh (Jeremy Allen White) and Josh’s friend Mina (Sheila Vand). In an attempt to escape their daily lives, they hire a picaresque space across the sea for a relaxing weekend. But things take a dark turn when the organization discovers hidden cameras on the Hireal property, raising paranoia and worry, and bringing unspoken secrets between the 4 visitors into the air. As they search to confront the property owner, those two couples are drawn into a more sinister plot involving an unseen harmful figure, forcing them to fight for survival. Franco takes a big leap into the director’s chair with this slow-burning horror film that, despite safe genre tropes, rewrites the slasher formula through wonderful character actors (in Brie specifically) and well-written writing.
I have enjoyed the meta from, stories that actively interact with the public, which form a link between the artist and the spectator. Because a film is not just one thing, but a creation, a animated concept through an artist. And in this case, administrators Phil Lord and Christopher Miller have designed a duology that is more than an undeniable self -consciousness: it is frankly conflictive. And deep because of this, like 21 Jump Street and 22 Jump Street pushes their characters in a Shapeula story that constantly challenges to be more, to go beyond what is expected. This constitutes a special link between us and the two main characters, Schmidt (Jonah Hill) and Jenko (Channing Tatum), which are infiltrated in a upper school (in 21 Jump Street) and on a university campus (22 Jump Street) to finish With the drug. Rings These films are a master class for comedy and satire, Tatum and Hill compete perfectly while their characters have problems being located and integrated. The rest of the distribution is also incredible, from Ice Cube to Brie Larson and Jillian Bell: everyone gathers for a meta from years. The natural amount of irreverent jokes and absurdly satirical gender perspectives make these two films consistently respectable, full of enough curtains to make you laugh (and think) for days.
Disaster videos are on the rise these days and occasionally stick to the same tired, chunky form that doesn’t allow you to focus on what really matters: the people. Not so with Roar Uthaug’s The Wave, a hugely underrated crisis film that unflinchingly addresses the fragility of human life in the face of anything beyond our control, in the face of anything. . . gigantic, a tsunami, to be exact. . The film follows geologist Kristian Eikjord (Kristoffer Joner), who discovers the symptoms of a near crisis in the form of a large landslide that can create a catastrophic tsunami in Norway’s fiorger. As the wave approaches, he and his circle of relatives will have to compete in time to draw close destruction. A Scandinavian crisis film that doesn’t feel bound through the politics and effects of Hollywood, this character-driven story grounded in realism features striking cinematography that effortlessly captures the herbal beauty of Norway. By grounding the story in realism and focusing on non-public issues, Wave in detail reflects how easily we can lose everything and the strength it takes to rebuild.
Martin Campbell is perhaps most productively known for revitalizing the 007 franchise, directing Pierce Brosnan in Goldeneye and Daniel Craig in Casino Royale. Outside of the movies, though, he’s done some right paintings in the action department, from Zorro’s Mask to Dirty Angels and the underrated movie I recommend for this list, The Stranger. Set amid the political backdrop of London, the tale follows a quiet, unassuming feeding place owner named Quan (Jackie Chan in a gripping late performance) whose life is turned upside down when his daughter is murdered in a bombing terrorist. Determined to seek revenge, Quan relentlessly pursues those responsible, namely a government official named Hennessy (Pierce Brosnan), as they engage in a tense game of cat and mouse. Campbell brings his true directorial flair to the field, allowing an elderly Chan to interact in a kinetic explosion of visceral, ground-based fighting that deviates from the typical high-flying stunts we’ve come to expect from the veteran actor of it all. , The Stranger excellently departs from typical action tropes for a raw, vulnerable story about family, about the cyclical nature of violence, about the toll of political upheaval on people.
As a great fan of David Lynch, I need to specify one thing: everyone deserves to look at the original edition of Lynch on Dune. I think it is a triumphant interpretation of a family history: how we describe our individual destinations and, in the end, how those destinations are interconnected. But I also perceive why so many other people love the story of Denis Villeneuve, with his mad . Array Dune follows Paul Dleges (Timothée Chalamet), the heir to the leading space guilty of governing the desert planet Arrakis, the only source of the maximum valuable substance in the universe: the spice. However, Romale Harkonnen space has its own plans and betray Paul and his circle of relatives, and follows an intergalactic clash. Pablo is forced to face his destiny, formed through the visions of a mysterious career and the deep link of his circle of relatives with Arrakis and his local population of Fremen. The vision of Villeneuve transforms an extensive epic into an intimate exploration of the dating of humanity with power, with nature, in the long term. Dune: Part 2 will remain in Netflix, so if you have not noticed either, be sure to watch the first film before it disappears.
I have been fascinated by Paul Walker, an actor who many say did not have much versatility. However, he is an actor who surprises me with his subtlety, with his character choices, with the natural gravity he brings to everyone’s roles. Example: Takers, a largely forgotten film that transcends Hollywood’s fashionable sensibilities of mainstream, urbane formulas through a stylized yet transparent story that tells the themes of camaraderie and the difficulties of elegance in an aesthetic of most classic police story. The film follows a team, consisting of characters Gordon (Idris Elba), John (Paul Walker), A. J. (Hayden Christensen), Jake (Michael Ealy) and Jesse Atta (Chris Brown), who specializes in planned high stakes. They are pursued by two detectives, Jack (Matt Dillon) and Eddie (Jay Hernandez), after a former member of the team named Ghost (T. I. ) is freed from crime and turns to a lucrative but dangerous job. Director John LueSssenhop does a perfect job of extracting the most from Walker, bringing wonderful power to this polished heist film that traverses its urban landscape with incredible security and intimacy. Conclusion: This film is very well made and may surprise you in its discipline.
Often, a film does not demand a complaint, but manages to forge a deeper connection with its average films. But few comedies are prominent in this branch that we are thousands, a film that made a mediocre of 48% in Rotten Tomatoes, but marked 76% with users and won $ 270 million (more than seven times its budget) of the foreign box office. What could have seemed like a comedy on a road holiday full of complaints it was shown that it was an irreverence of this specific logo of comedy that laughs and the heart. The cinema focuses on a low -level drug trafficker called David Clark (Jason Sudeikis) that is forced to approve a wonderful expedition of marijuana from Mexico to the United States. To avoid suspicions on the border, David gathers a false circle of relatives, recruiting Rose (Jennifer Aniston), Kenny (Will Poulter) and Casey (Emma Roberts) to go through his wife and children. His plan is infallible, however, things become temporarily uncontrollable, while the circle of fortune relatives confronts harmful drug traffickers, a suspicious circle of relatives where they are linked along the way and their own personalities faced. Under the comedy scandal of director Rawson Marshall Thurber is a story about the concept of the circle of relatives and belonging that, despite his impolite humor, works almost all levels.
It shouldn’t take me much work to convince you to watch The Babadook. After all, it is one of the highest rated movies on Rotten Tomatoes of all time. Perhaps it strikes such a chord because of its examination of the grieving process and how disruptive it can be to households—a scenario many of us are familiar with. This enlightening film from director Jennifer Kent centers on Amelia (Essie Davis), a recently widowed woman grieving the recent death of her husband. She struggles to raise her high-energy and imaginative son, Samuel (Noah Wiseman), who suddenly becomes obsessed with a sinister figure from his pop-up book called the Babadook—a creature he very much believes is real. Soon, the lines between reality and delusion blur as the Babadook makes his presence known in their home, forcing Amelia to confront not only the entity but also the suppressed trauma that haunts her. A deeply atmospheric and unsettling film, Kent makes a magnificent use of space in a home that reminds Amelia of her broken family and shadow-filled compositions that instigate claustrophobia. What separates The Babadook apart is its poignant exploration of grief and motherhood, with Davis delivering a powerhouse performance that captures both Amelia’s spiral into despair and her fierce love for her son.
Many auteurs dominate the headlines these days, from Ari Aster to Greta Gerwig to Robert Eggers. But there’s one name that I’m always surprised hasn’t gotten the love and praise its deserves: S. Craig Zahler. Despite his critical reverence—case in point, the movie at hand here, Brawl in Cell Block 99, currently has a 90% score on Rotten Tomatoes—Zahler hasn’t broken into mainstream appeal, hasn’t become a household name amongst cinephiles. Well, if you need an introduction to his unique style of filmmaking, this is a great place to start. The movie follows a former boxer named Bradley who struggles to make ends meet. To compensate after losing his job, he turns to drug running. But after a drug deal goes wrong and he is sent to prison, cartel operatives force Bradley to meet his demands by kidnapping his pregnant wife, Lauren. Forced into a violent spiral, Bradley navigates the high-security prison and confronts the man who can put a stop to it all. The methodically paced and viscerally brutal Brawl in Cell Block 99 is filled with Zahler’s signature long takes that build tension before erupting into shocking violence. There are few working directors these days that deliver such a stark, unflinching aesthetic.
Note: The dates mark your days to see those movies.