Another month, another loss for Netflix subscribers. While each new flip of the calendar brings with it a fresh slate of films, it also means saying goodbye to some truly great ones. And November is no different, as we will soon wave farewell to all kinds of movies, including a riveting crime drama that was on loan from Max, a classic independent film that previewed one of the biggest blockbusters of our time, and a wonderful rom-com love triangle that has largely gone unnoticed by the movie-watching community. Your options abound as the days tick away in November 2024, which means it’s time to get started watching these awesome movies. But where do you start?
Hopefully, I can help. Below, I’ve picked ten movies in particular that I believe you should make a priority over the next several days before they disappear from Netflix. I include reasons you should watch them and trailers. Then, at the bottom of the article, you’ll find a full list of every single movie leaving the streamer by month’s end. Within either of these lists, I’m sure you’ll find your next movie night movie.
The 10 Best Movies Leaving Netflix in November 2024
The Little Things (2021)
As part of that strange crossover where movies released exclusively on Max were then transferred over to Netflix, movies like The Little Things are finally ending their temporary residence and heading back home. So if you’re a Netflix subscriber, this is your last chance to see Denzel Washington, Jared Leto and Rami Malek acting up a storm in a gritty crime drama. Directed by John Lee Hancock, The Little Things follows Joe “Deke” Deacon (played by Washington), a deputy sheriff in Kern County who used to work in Los Angeles. Haunted by an investigation that went unsolved years ago, the aged and beleaguered yet incredibly astute Deke is drawn back into the world of homicide after teaming up with the young, driven, idealistic Jim Baxter (Malek). Their prime suspect in a string of L.A. murders is Albert Sparma (Leto), a mysterious and eccentric loner who relishes being the center of attention. This is a perfect film for Noirvember, as Hancock heavily leans heavily into neo-noir influences, with a dark, brooding atmosphere that reflects the morally ambiguous world of its characters.
Downton Abbey (2019)
This might sound like blasphemy to anyone who’s a fervent fan of the television series “Downton Abbey,” but I had absolutely no issue loving the movie extension without ever actually watching the show. While Downton Abbey does continue direct storylines from the series, I think there’s enough simple exposition and inherent atmosphere provided to settle right into the groove of its story. Directed by Michael Engler, Downton Abbey centers on an unexpected royal visit from King George V and Queen Mary to the Crawley family and their staff, sending the estate is thrown into a flurry of preparation. The arrival of the royal entourage stirs up challenges and tensions among both the Crawleys and the servants. The strength of Downton Abbey lies in its sprawling ensemble cast, with returning favorites like Hugh Bonneville as Lord Grantham, Michelle Dockery as Lady Mary and the late Maggie Smith as the ever-sharp Violet Crawley. True to its television roots, the film juggles multiple plots at once, weaving together moments of humor, romance and suspense for an effortless evening of entertainment.
Don’t Go Breaking My Heart (2011)
As someone who genuinely loves romantic movies, and in particular old romantic movies, I always take the chance to recommend what I believe to be one of the better modern romances that adheres to age-old formulas: Don’t Go Breaking My Heart. In fact, there are two great movies in this series, so the story will get to continue after you finally watch this awesome flick. Directed by great and underrated Johnnie To, this part rom-com, part rom-drama explores a love triangle between Zixin (Gao Yuanyuan), an ambitious office worker, Qihong (Daniel Wu), a heartbroken architect, and Shenran (Louis Koo), a charming financial executive. Zixin initially bonds with Qihong, who helps her through tough times from afar by leaving supportive messages and making small gestures, while at the same time, she catches the attention of Shenran, whose flirtatious charm and wealth sweep her off her feet. The “fourth character” in this heartwarming tale is Hong Kong, which gives the film and its accompanying story such life with its sleek skyscrapers, bustling streets and fast-paced energy, much like how New York City played out in so many Old Hollywood romances.
Glengarry Glen Ross (1992)
Famous playwright David Mamet has had a few of his plays turned into movies, but one clearly stands above the rest. And you’ll probably agree once you see the cast list: Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris, Alan Arkin, Kevin Spacey, Jonathan Pryce…I’ll go ahead and stop there for now. It’s better if you just watch it. Directed by James Foley, this adaptation of the Pulitzer Prize-winning play of the same name follows a group of desperate real estate salesmen as they navigate the cutthroat world of sales. After a corporate office announces a high-stakes competition where only the top two sellers will keep their jobs, tensions mount as the team scrambles to close deals. The story focuses on veteran salesman Shelley “The Machine” Levene (Lemmon), ruthless top-seller Richard Roma (Pacino), frustrated middleman George Aaronow (Arkin), and hotheaded Dave Moss Harris), as they battle for leads provided by the office manager, John Williamson (Spacey). The screenplay, which was written by Mamet himself, has been celebrated for its razor-sharp dialogue, which blends profanity, wit and raw emotion in a manner that reminds many critics of Aaron Sorkin—not a bad comparison.
Frances Ha (2012)
Sure, independent film champion Noah Baumbach has moved onto bigger and greater things, in a sense, after penning the script for Barbie alongside Greta Gerwig. But their writing partnership started way back in 2012 with Frances Ha, a wonderful little black-and-white dramedy that showcased the filmic language those two would later turn into blockbuster entertainment. Directed by Baumbach, Frances Ha follows Frances Halladay (played by Gerwig), a 27-year-old in New York City. Frances dreams of becoming a successful dancer, but her life is in flux after her best friend and roommate Sophie (Mickey Sumner) decides to move out, leaving Frances struggling to find her footing. Baunbach’s decision to shoot in black and white drew comparisons to the French New Wave, as it evokes a timeless, nostalgic quality that emphasizes mood and emotion over the vibrancy expected from modern cinema. The script from Baumbach and Gerwig features conversations that mimic the rhythm of real life, with interruptions, awkward pauses and organic humor filling the screen at every turn.
Space Jam: A New Legacy (2021)
As someone who grew up with the original Space Jam, I have to say: I was very skeptical of Space Jam: A New Legacy. In fact, I was downright indignant about the entire idea of a reboot, and refused to watch what looked like nothing more than a cash grab. But after watching the sequel, there’s no denying that LeBron James has enough charisma and likability to make an update like this work. Directed by Malcolm D. Lee, A New Legacy finds the NBA superstar trapped in the Warner Bros. Serververse, a digital world controlled by the rogue artificial intelligence Al-G Rhythm (played by one of the best, Don Cheadle). When Al-G kidnaps LeBron’s son Dom (Cedric Joe), the basketball legend is forced to assemble a team of Looney Tunes characters, including Bugs Bunny, Daffy Duck and Lola Bunny, to compete in a high-stakes basketball game against Al-G’s powerful Goon Squad. James anchors the film with his natural magnetism and willingness to poke fun at himself, while Cheadle thrives as the playful, over-the-top villain. To boot, all the Looney Tunes characters adhere to their classic slapstick humor while providing enough modern updates to make A New Legacy feel like more than your run-of-the-mill reboot.
Point Break (1991)
It would be wrong—no, it would be downright immoral—to not recommend one of my favorite movies of the 1990s, a film that I’ve seen so many times that I can quote just about every line. In my household, Point Break isn’t just a surfer movie—it’s some of the best entertainment that money can buy. Directed by Kathryn Bigelow, this crime thriller follows rookie FBI agent Johnny Utah (Keanu Reeves, in his best role ever), who is assigned to investigate a series of daring bank robberies committed by a gang known as the “Ex-Presidents,” who execute their heists with precision and vanish without a trace. Johnny goes undercover and infiltrates a group of surfers led by the enigmatic Bodhi (the unimpeachable Patrick Swayze), a spiritual soul who believes in living life on the edge. Bodhi’s worldview serves as the philosophical core of Point Break, as he views life as a series of moments just waiting to push lost souls like Johnny to the edge, tearing him between his duty to the law and the allure of a freer, more exhilarating existence. Bigelow expertly crafts this dynamic, shaping the stakes and driving the emotion between two harmonious-yet-incompatible forces that symbolically represent the importance of a balanced life.
To Leslie (2022)
Many great actors and filmmakers were honored with nominations at the 95th Academy Awards, but one in particular flew relatively under the radar. That was Andrea Riseborough, who, despite some controversy surrounding her nomination, managed to win over many critics and everyday moviegoers with her raw, fearless performance in To Leslie, embodying the protagonist’s pain, charm and desperation with authenticity. Directed by Michael Morris, this penetrating film tells the poignant story of Leslie Rowlands (played by Riseborough), a single mother from West Texas who recklessly squanders her winnings from the lottery on alcohol and wild times. Years later, Leslie is estranged from her son James (Owen Teague) and finds herself homeless, struggling to rebuild her life. Forced to confront her past mistakes and the relationships she’s fractured, Leslie seeks redemption while battling her addiction, all while forming a surprising bond with Sweeney (Marc Maron), a kindhearted motel owner. The narrative unfolds through Leslie’s relationships—with her son, with the strangers she encounters, with herself—offering a layered exploration of regret, hope and forgiveness.
It Chapter Two (2019)
Very few horror films have big budgets. And the few that do usually leave much to be desired, hence why we don’t see them very often. But after the enormous success of It, a genuinely fantastic and wonderfully barbaric horror flick that managed to strike a chord with the general public despite its gore, the sequel’s budget was nearly doubled from $40 million to nearly $79 million. And boy was it worth it. It Chapter Two, directed by Andy Muschietti, picks up 27 years after the events of the 2017 predecessor, as the “Losers’ Club,” now adults, reunites in their childhood hometown to confront the terrifying return of Pennywise the Dancing Clown (played devilishly by Bill Skarsgård). When Pennywise resurfaces, targeting children once again, Mike Hanlon (Isaiah Mustafa) calls the group back to honor their childhood pact to vanquish the creature for good. Haunted by memories of their traumatic past, Bill (James McAvoy), Beverly (Jessica Chastain), Richie (Bill Hader), Eddie (James Ransone) and Ben (Jay Ryan) face their deepest fears as they confront Pennywise one last time. From grotesque creatures to eerie, otherworldly settings, the film uses CGI and practical effects from its big budget in incredibly entertaining (and frightening) ways.
Primal (2019)
For the final slot on this list, I want to highlight a great recent release that didn’t get as much love as it should have. Probably because its star, Nicolas Cage, has become a bit ubiquitous these days, and the roles he’s offered tend to blend together in a typecast manner. But Primal thrives on Cage like few recent films have managed to do quite as effectively. Directed by Nick Powell, this pulpy thriller follows Frank Walsh (Cage), a big-game hunter and exotic animal collector who is transporting a collection of rare and dangerous creatures on a cargo ship, which includes a lethal white jaguar that will net a fortune. However, the voyage takes a deadly turn when a dangerous political assassin aboard the ship, Richard Loffler (Kevin Durand), escapes custody and releases the animals to create chaos. With everyone on board in danger, Frank must use his hunting skills to track both Loffler and the rampaging creatures before it’s too late. The story heavily leans into its B-movie roots, embracing a straightforward narrative that prioritizes movement over complexity, allowing the contained, high-stakes action to guide our relationship with the film and its inhabitants.
Every Movie Leaving Netflix in November 2024
Note: The dates mark your final days to watch these movies.
- November 26: Birthcare Center (2020); Evvarikee Cheppoddu (2019); Newton’s Cradle (2021); Poster Boys (2017)
- November 27: The Secret: Dare to Dream (2020)
- November 28: Primal (2019); The Charming Stepmom (2019)
- November 30: A Beautiful Life (2023); Accident (2009); Ali (2001); Araham (2014); Blind Detective (2013); Blood and Bone (2009); Chhota Bheem Aur Mahavinashini ka Vinaash (2022); Chhota Bheem ki Citi Pitti Gul (2021); Diary of a Mad Black Woman (2005); Don’t Go Breaking My Heart (2011); Downton Abbey (2019); Frances Ha (2012); Glengarry Glen Ross (1992); Hunter Killer (2018); It Chapter Two (2019); Look for a Star (2009); National Security (2003); Offline: Are You Ready for the Next Level? (2016); Once a Gangster (2010); Pain & Gain (2013); Point Break (1991); SDU: Sex Duties Units (2013); Space Jam: A New Legacy (2021); Tee Shot: Ariya Jutanugarn (2019); The Battleship Island (2017); The Berlin File (2013); The Devil’s Own (1997); The Little Things (2021); The Matrix Resurrections (2021); The Quick and the Dead (1995); To Leslie (2022); The Unjust (2010); Troy (2004); Two Weeks Notice (2002); Tyler Perry’s Temptation: Confessions of a Marriage Counselor (2013); Veteran (2015); What to Expect When You’re Expecting (2012)
This post was originally published on here
