Finding the finest Netflix movies can be challenging, but there will likely always be amazing movies to watch. Whether you're looking for the best action movies, horror movies, comedies, or vintage movies on Netflix, there are many options available. The list has been revised for 2022 to take outstanding movies off the list while recognising underrated masterpieces.

We at Paste have done our best to make it simple for you by regularly updating our list of the Best Movies to Watch on Netflix with both new arrivals and overlooked movies. This saves you time from having to wade through categories in search of the ideal movie to watch.

Year: 2006

Director: Martin Scorsese

Stars: Leonardo DiCaprio, Matt Damon, Jack Nicholson, Mark Wahlberg, Martin Sheen, Ray Winstone

Rating: R

Scorsese's epic gangster film explores the shady inner workings of the Boston Special Investigation Unit and its pro-crime counterpart, the Frank Costello-led Irish mafia, in equal measure. It is at times really amusing and at others horribly violent. The director received his first Best Picture Oscar for his first Boston-set mafia movie. The gangster drama, a remake of the Hong Kong thriller Infernal Affairs, boasts an all-star cast including Matt Damon, Leonardo DiCaprio, and Jack Nicholson and preserves the ideal characteristics of a classic Scorsese film: style, morality, and grit.—David Roark

Year: 1975

Directors: Terry Gilliam, Terry Jones

Stars: Graham Chapman, John Cleese, Eric Idle, Terry Jones, Connie Booth

Genre: Comedy

Rating: PG

It stinks that the popularity of Holy Grail has diminished part of its brilliance. Nowadays, our first memories of hearing words like "flesh wound," "ni!" or "vast swaths of territory" are frequently of having dumb, obsessed geeks repeat entire sequences to us. Or, in my case, of seeming like a naive, obsessive nerd and reciting entire passages to strangers. However, if you try to step back from the oversaturation aspect and watch the movie again after a while, you'll find new gags that still feel hilarious and new. The most jam-packed comedy in the entire Python canon is Holy Grail. Given its reputation, it's astonishing how quickly we forget how many gags are in this film. If you've had it with this movie and are completely and irrevocably burned out, watch it again with commentary to obtain a second level of appreciation for the creativity with which it was produced. It doesn't appear to be a movie costing $400,000. It's fun to learn which jokes, like the coconut halves, were developed as a result of having to find creative solutions on a tight budget. The first collaboration between on-screen actor Terry Jones (who only seldom directed after the breakup of Python) and the lone American Terry Gilliam (who frequently distorted Python's cinematic approach into his own own brand of nightmare fantasy) moves with an absurd efficiency.. —Graham Techler

Year: 2019

Director: Martin Scorsese

Stars: Robert De Niro, Al Pacino, Joe Pesci, Jesse Plemons, Anna Paquin

Genre: Crime, Drama

Rating: R

Peggy Sheeran (Lucy Gallina) observes her father Frank (Robert De Niro) packing his bag for a business trip via a door that has been left open. Trousers and shirts are put inside the bag, each one carefully folded and tucked. The brutal tool of Frank's trade, the snubnose revolver, is inserted. He is unaware that his daughter is staring at him because she is naturally silent and has remained so for the most of their adult interactions. He closes the file. Behind the door, she vanishes. Her opinions linger. A third of the way into Martin Scorsese's new movie, the moment begins. The Irishman, which takes its name from Frank's moniker in the mob, replays in the film's closing scene as an elderly, ailing, and completely alone Frank, who has been abandoned by his family and has lost touch with all of his mobster buddies over the years, sits on his nursing home bed. He might be waiting for Death, but it's more probable that he's waiting for Peggy, who rejected him and doesn't intend to pardon his transgressions (played as an adult by Anna Paquin). Scorsese's moral compass is Peggy. She is a strict judge. The movie has a negative image on machismo because it's depicted as being masked by the mafia and mugs. When Scorsese's main characters aren't plotting or using violence to carry out their plans, they may be screaming at each other, eating ice cream, or in the most extreme cases, engaging in pathetic slap fights. This scenario reminds me of similarly tragic sequences in Akira Kurosawa's Rashomon and Drunken Angel: fights between want tobe roughs driven into fighting by their own bluster.  Frank worked for the Bufalino crime family, headed by Russell, from the 1950s to the early 2000s, according to The Irishman (Joe Pesci, out of retirement and intimidating). “Working” means murdering some people, muscling others, even blowing up a car or a building when the occasion warrants. When disengaged from gangland terrorism, he’s at home reading the paper, watching the news, dragging Peggy to the local grocer to give him a beatdown for shoving her. “The unfortunate fool claims, "I only did what you should," as Frank leads him outside and crushes his palm on the curb. The Irishman is a historical nonfiction book that details Sheeran's life as well as the lives of the Bufalinos and their associates—especially those who passed away before their time—through his life (that being most of them). It also depicts childhood under the shadow of callous brutality and explores what a young girl must do to stay safe in a world where violence rules.. —Andy Crump

Year: 2017

Director: Raoul Peck

Genre: Documentary

Rating: PG-13

James Baldwin's unfinished book Remember This House, which would have honoured three of his friends—Martin Luther King Jr., Malcolm X, and Medgar Evers—is the subject of Raoul Peck's book. Within five years of one another, three black men were all killed, and the movie reveals that Baldwin was not only grieved by these deaths as horrible setbacks for the Civil Rights struggle, but also genuinely worried for the spouses and children of the slain men. As much as Baldwin's intelligence, the movie is about his excruciating anguish.  I Am Not Your Negro, then, is not merely a portrait of an artist, but also a depiction of mourning—what it appears like, sounds like, and feels like to lose friends in public (and with so much of America refusing to understand how it happened, and why it will keep happening). Peck had little choice but to give us this impression, putting us directly in Baldwin's presence.and I Am Not Your Negro would most likely have continued to be a hit. His choice to deviate from the typical documentary style, in which esteemed experts offer their opinions on a topic, fosters an intimacy that is rare to achieve in movies of this calibre. It is beautiful to spend time listening to Baldwin's words alone. Baldwin is the only person who can explain himself; this is how it should be since there is no interpreter. —Shannon M. Houston

Year: 1984

Director: Wes Craven

Stars: Heather Langenkamp, Robert Englund, John Saxon, Johnny Depp, Ronee Blakley, Amanda Wyss, Nick Corri

Rating: R

Runtime: 91 minutes

A Nightmare on Elm Street may have given us the most comprehensive and flawlessly polished original instalment of the main three slasher franchises—Halloween, Friday the 13th, and this. Wes Craven had the opportunity to observe and be affected by the gloomy Carpenter and the significantly more sleazy and tawdry Cunningham in several F13 sequels, so this is undoubtedly a result of being the last to come around. A killer with the indestructibility of Myers or Voorhees evolved from this concoction, but with a twist of Craven's own bizarre sense of humour. This is not to say that Freddy Krueger (Robert Englund) is a comedian; at least not in the first Nightmare, where he is presented as a serious threat and a truly terrifying one at that, rather than the self-parodying pastiche he would become in sequels like Final Nightmare; however, his gleeful approach to murder and subsequent gallows humour make for a very different breed of supernatural killer, and one that had a significant impact on subsequent slashers. The straightforward premise of the movie, which explores the horrors of dreams and dubious reality, was like a gift from the gods given to the set designers and artists, who were given free reign to indulge their fantasies and produce iconic set pieces unlike anything else up to that point in the history of the horror genre. It's a nightmare of macabre humour and nightmares. —Jim Vorel