New Movies on Netflix – Paste – Paste Magazine

Netflix has been adding so many new movies to its menu of offerings that it can be tough to keep up with all of their latest films. The following list includes 10 of the biggest movies the streaming service has released in the last few months.
Some we recommend more than others, but we’ve listed them all in order of release date, starting with the newest movies on Netflix. We’ll update this as Netflix continues to add new original films to the streaming service.
bruised.jpg Netflix Release Date: Nov. 24, 2021
Director: Halle Berry
Stars: Halle Berry, Shamier Anderson, Adan Canto, Sheila Atim
Genre: Drama
Rating: R
Runtime: 132 minutes
Paste Review Score: N/A

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Oscar winner Halle Berry makes her directorial debut with Bruised, a drama about the world of mixed martial arts fighting in which she also stars. Written by Michelle Rosenfarb, Bruised follows Jackie “Justice,” a disgraced MMA fighter dealing with the sudden reappearance of her six-year-old son, Manny, whom she walked out on years ago. In Bruised, Jackie must not only face her own demons and compete with one of the fiercest rising stars in the MMA world, but also fight to become the mother her child deserves. Berry, who starred in John Wick 3: Parabellum opposite Keanu Reeves, reunites here with John Wick producer Basil Iwanyk of Thunder Road Pictures, along with Entertainment 360, Linda Gottlieb and the team behind the fight choreography in John Wick. —Stephan Cho
tick-tick.jpg Netflix Release Date: Nov. 19, 2021
Director: Lin-Manuel Miranda
Stars: Andrew Garfield, Robin de Jesús, Alexandra Shipp, Joshua Henry, Judith Light, Vanessa Hudgens
Genre: Musical, Drama
Rating: PG-13
Runtime: 115 minutes
Paste Review Score: 8.2

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When Jonathan Larson’s Rent debuted on Broadway in 1996, there was one thing all audiences could agree on: It was a totally unorthodox entry into the world of musical theater. Larson was anything but predictable. It’s only fair, then, that his biopic, tick, tick… BOOM! follows the same design. Perhaps the person best suited to tell Larson’s story is Broadway’s own Lin-Manuel Miranda. Creator of the strange, idiosyncratic, rebellious—and yet absolutely venerated—Hamilton, Miranda knows better than anyone what it’s like to permanently rupture theatrical convention. tick, tick… BOOM! is based around Larson’s one-man show of the same name, which he performed in 1990. It tells the story of his life, and what it’s like to be a struggling, aspiring composer in New York City. (Spoiler alert: It’s not easy). The film is structured around the show itself, performed by a disheveled and charismatic Andrew Garfield. From there, we weave between the show and vibrant flashbacks that illustrate exactly what Jonathan is talking (well, singing) about. Rent was successful largely because it is steeped so profoundly in real life. It’s a show about ordinary people struggling in New York, and Larson wasn’t afraid to depict subjects that were considered taboo in order to commit to that realism: Drug addiction, suicide, exotic dancing. He also didn’t shy away from showing the mundanity of real life. Miranda does justice to Larson’s life by mimicking that sensibility, particularly through the film’s performances. From the flitting, kinetic energy Andrew Garfield brings to his musical numbers to the surprising softness and watchfulness in every expression, this is the actor’s best performance since he smashed Mark Zuckerberg’s computer in The Social Network. Robin de Jesús, who plays Jonathan’s best friend, Michael, also stuns as he navigates the life of a struggling artist with much less intensity than Garfield. His performance breathes a pleasantly surprising air of subtlety into the role. And so we’ve got tick, tick… BOOM!, a film jam-packed with melancholy, powerhouse performances, and told with a somber, realistic storytelling structure that is at first jarring to the senses, but ultimately pays off. The joy of these musical ellipses is infectious, and that only makes it more tragic when real life comes crashing down. —Aurora Amidon
red-notice.jpg Netflix Release Date: Nov. 12, 2021
Director: Rawson Marshall Thurber
Stars: Dwayne Johnson, Ryan Reynolds, Gal Gadot, Ritu Arya, Chris Diamantopoulos
Genre: Action Comedy
Rating: PG-13
Runtime: 117 minutes
Paste Review Score: 2.9

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What happens when Hollywood’s marquee trio has the combined charisma of a wet paper towel? This question is inadvertently posed by Red Notice, Netflix’s latest blockbuster, which is ripe with CGI and plays like it was written by one of those AI-trained bots—with this particular one having been fed hundreds of hours of soulless, money-wasting heist flicks. The film follows FBI criminal profiler John Hartley (Dwayne Johnson), as he attempts to catch one of the world’s leading art thieves, Nolan Booth (Ryan Reynolds), who is on a mission to steal Cleopatra’s mythic sparkling eggs. But the two get outsmarted by femme fatale art thief The Bishop (Gal Gadot) and end up in prison while she attempts to snag the eggs for herself. Where does that leave the duo? They’ve got to break out of prison and take the relics for themselves, of course. When the three leads are together, one can’t help but wonder if they’ve ever been in the same room. In fact, their intense lack of chemistry makes me suspect that their scenes are actually a composite of three people acting in different studios. Gadot’s glaring lack of comedic timing clashes with Reynolds’ expertise in that area, and Johnson and Reynolds seem only minimally invested in one another, which makes the film’s quasi-buddy-cop undertone a hard sell. All three act like they’re in their own movie—whether it’s Deadpool or Wonder Woman or Furious 7—and none seem to have gotten the memo that no one else is in that movie with them. What’s most concerning, though, is that the powers that be at Netflix put their heads together—using their advanced algorithms and personal data—and came to the conclusion that this is what will pull the masses in: A lifeless, impersonal movie with three great stars at their most lifeless and impersonal, is ultimately what will resonate with society the most. Yes, this is worth the streamer’s biggest budget to date. And that’s a scary, scary thought. —Aurora Amidon
passing.jpg Netflix Release Date: Nov. 10, 2021
Director: Rebecca Hall
Stars: Tessa Thompson, Ruth Negga, André Holland, Bill Camp, Alexander Skarsgård
Genre: Drama
Rating: PG
Runtime: 99 minutes
Paste Review Score: 6.8

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Most actors making their feature directorial debut tend to focus on, well, other actors—and it’s certainly the case that Passing, the feature debut for the wonderful actress Rebecca Hall, is attuned to the performers at its center. Hall, who can bring a sense of gravity to even the cheerfully ridiculous likes of Godzilla vs. Kong, here gets to work with a pair of performers with similarly assured-yet-grounding talent: Tessa Thompson and Ruth Negga, playing childhood friends who unexpectedly reunite as adults in 1920s New York City. Irene (Thompson), nicknamed “Reenie,” is married to Brian (André Holland), has two young children, and is firmly ensconced in the upper middle class. Clare (Negga) is married, too—to a man who has no idea that she, like Reenie, is Black. Both Reenie and Clare are light-skinned enough to “pass,” and while Reenie has episodes where she allows incorrect assumptions about her race, Clare has made a whole life out of pretending to be white. It’s rich material for two talented actors, but Hall shows formal ambition in the story’s telling, too. She shoots in boxy 1.33:1 aspect ratio, in high-contrast black-and-white, blasting and fuzzing out the whiter patches of the image—which makes the skin tones look grayer by comparison. After establishing the characters with such elegance and grace, the movie proceeds to nudge them toward an endpoint that is beautifully shot but curiously chilly, lacking the catharsis of something more old-fashioned. There’s strain in the movie’s restraint, frozen as it is between the melodrama of the past and the fire of the present. —Jesse Hassenger
love-hard.jpg Netflix Release Date: Nov. 5, 2021
Director: Hernán Jiménez
Stars: Nina Dobrev, Jimmy O. Yang, Darren Barnet
Genre: Romantic Comedy
Rating: TV-MA
Runtime: 105 minutes
Paste Review Score: N/A

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Jimmy O. Yang charmed us all as Jian-Yang in HBO’s Silicon Valley, but not in the rom-com leading-man sort of way. The comedian stars as Josh, the nerdy underdog who catfishes beautiful Natalie (Nina Dobrev), enticing her to travel across the country for Christmas. He promises to set up her up with her crush Tag (Darren Barnet) if she’ll pose as his girlfriend for the holidays. Hijnks—we assume—ensue.
the-harder-they-fall-poster.jpg Netflix Release Date: Nov. 3, 2021
Director: Jeymes Samuel
Stars: Jonathan Majors, Idris Elba, Zazie Beetz, Regina King, Delroy Lindo, Lakeith Stanfield, RJ Cyler, Danielle Deadwyler, Edi Gathegi, Deon Cole
Genre: Western, Action
Rating: R
Runtime: 139 minutes
Paste Review Score: 7.0

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The importance of Black folks to the “taming” of the West is a central thrust to The Harder They Fall, both as a motivation for first-time feature director Jeymes Samuel, who grew up watching Westerns and wanted to see one starring Black people, and for the plot. The actors, visual style and musical choices elevate an imperfect script with memorable if not completely unique dialogue and scenes. The cast and performances are remarkable and it’s an aesthetically striking film with great set, sound and costume design. Real-life historical figures are treated like folk heroes, for better and for worse. The Harder They Fall has its problems, but it’s a testament to the idea that there are still interesting things to be done in familiar genres, like inserting color aesthetically and demographically. It’s worth watching at least once for the spectacle of the vibrant colors and great performances, and to be introduced to real historical characters, even if audiences must look far from the film to figure out what they were actually like. It does a great job reinserting Black people into the story of the U.S. western expansion, but it’s a qualified success because the film ignores the people the U.S. was stolen from, in places and among people where they could still be found. —Kevin Fox, Jr.
army-of-thieves-poster.jpg Netflix Release Date: Oct. 29, 2021
Director: Matthias Schweighöfer
Stars: Matthias Schweighöfer, Nathalie Emmanuel, Stuart Martin, Guz Khan, Ruby O. Fee, Jonathan Cohen
Genre: Comedy, Thriller
Rating: TV-MA
Runtime: 129 minutes
Paste Review Score: 7.3

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Army of the Dead is a film full of pleasant surprises, but Matthias Schweighöfer, playing a German safecracker with a hair-trigger for impassioned speeches about locks and bolts, is perhaps the most pleasant surprise of them all. The man has a twitchy sort of charm easily misidentified as “quirkiness.” In reality he’s well-mannered to a fault and polite to the point of timidity, but with one other propulsive quality buried beneath the affable veneer: Intensity. Everything Schweighöfer does in Army of the Dead is informed by a vigor belied by his nervousness. He’s a squirrely burglar, quivering one moment over flesh-eating ghouls and doing a heroic sacrifice the next. This intensity carries over into Army of Thieves, the prequel film to Army of the Dead, where Schweighöfer replaces Zack Snyder in the director’s chair. To allay any fears that Schweighöfer might copy Snyder’s style, don’t worry: Schweighöfer is not Zack Snyder, because nobody is. Everything that singled out Schweighöfer’s work under Snyder’s guidance is infused into Army of Thieves on a molecular level, as if he managed to get his hands on Shay Hatten’s screenplay and bleed all over its pages. Army of Thieves replaces the doom, gloom and zombie chaos with deep-rooted joy, as if Schweighöfer, behind the camera, can scarcely believe he’s directing a film this big established by a filmmaker like Snyder. It’s impossible to resist that sort of bubbly, crackling enthusiasm, which makes Army of Thieves’ predictable elements easier to countenance. —Andy Crump
night-teeth.jpg Netflix Release Date: Oct. 20, 2021
Director: Adam Randall
Stars: Jorge Lendeborg Jr., Debby Ryan, Lucy Fry, Raúl Castillo, Alfie Allen, Alexander Ludwig, Sydney Sweeney, Megan Fox
Genre: Horror
Rating: TV-MA
Runtime: 83 minutes
Paste Review Score: 6.6

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British director Adam Randall’s Night Teeth sets its brand of nocturnal vampires against the backdrop of Los Angeles, with particular emphasis on the staunchly anti-vamp residents of Boyle Heights. The film doesn’t provide much in terms of significant additions to existing vampiric lore—The Lost Boys pioneered the unlikely Californian vampire, while last year’s Vampires vs. the Bronx offered a muddled modern parable of vampires as gentrifying leeches. Yet while sorely lacking compelling creative elements, Night Teeth is far from devoid of entertainment value. Particularly when it comes to charming lead performances and superficial cameo appearances from Megan Fox and Sydney Sweeney, Night Teeth delivers formulaic fun without much for viewers to sink their teeth into. Engaging in various side-hustles to put himself through college and support his aging abuela, Benny (Jorge Lendeborg Jr.) champs at the bit to pick up a shift at his big brother Jay’s (Raúl Castillo) upscale chauffeur company. Unfortunately for Benny, his two wealthy clients for the long night ahead, Blaire (Debby Ryan) and Zoe (Lucy Fry), are part of a larger vampiric plot that would have greedy bloodsucker Victor (Alfie Allen) running the city, effectively calling an open season on all humans. Though the vampiric depictions are far from new or exciting, Night Teeth is salvaged by the relative strength of its actors. Particularly when conveying the thin line that separates the living from the undead, the characters marvelously channel the overarching boredom of 21st century existence, even for the supremely powerful: Car service rentals, staring at cell phones and pleather pants plague everyone, especially in a city like L.A. This humorous revelation is ultimately what Randall and writer Brent Dillon attempt to communicate, but it never quite manifests as a distinct assertion. Their vampires nominally drink blood from goofy bar taps and feed on consenting humans, effectively aligning them with lazy house cats descended from stealthy predators. However, the exploration of this neutered vampire never delves deeper. Yet for those seeking a generic romp complete with cheesy star-crossed romance, self-aware cameos and predictable punchlines, Night Teeth might just deliver anyway. —Natalia Keogan
witcher-nightmare.jpg Netflix Release Date: Aug. 23, 2021
Director: Kwang II Han
Stars: Theo James, Lara Pulver, Graham McTavish, Mary McDonnell
Genre: Fantasy
Rating: TV-MA
Runtime: 83 minutes
Paste Review Score: N/A

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Netflix series The Witcher was a rather massive hit for the streaming platform in 2019, introducing mainstream audiences everywhere to the dangerous world of Geralt of Rivia, a magically enhanced professional monster hunter known as a Witcher. Like a lot of prequels, the animated film Nightmare of the Wolf can often feel more interested in table setting for the next season of the live-action series than in telling a standalone story of its own. Your mileage will likely vary on whether you think that’s a good idea or not—hardcore fans will be delighted by the frequent namedropping and amped-up violence in the lead-up to the series’ return, while casual viewers may wonder what the big deal about any of this is. But Nightmare of the Wolf works because it unabashedly doubles down on much of what makes the original series so appealing, namely the rich lore that surrounds the existence of Witchers in general. And in doing so, it makes the original series feel like something much larger than one man’s story, expanding its world in a way that makes almost every aspect of it seem more complex and interesting than it did before. The film is technically a Vesemir origin story, but it’s also a crash course in how Witchers came to be, from the harsh conditions in which they are created to the uncomfortable position they occupy in the politics and cultural consciousness of the Continent. But most of all, Nightmare of the Wolf continues to muddy the moral waters of the Witcher universe, crafting complex characters in every shade of grey imaginable. Nightmare of the Wolf’s broader message about how we often create the monsters we fear the most certainly isn’t new. But those familiar beats ultimately help us see the world of the live-action series—and Geralt’s place in it—in a different way than we did before, one which both justifies the Continent’s distrust of Witchers and deepens our understanding of why these remaining men have chosen to keep on fighting anyway. —Lacy Baugher Milas.
vivo.jpg Netflix Release Date: Aug. 6, 2021
Director: Kirk DeMicco, Brandon Jeffords
Stars: Lin-Manuel Miranda, Ynairaly Simo, Zoe Saldaña, Juan de Marcos González, Brian Tyree Henry, Gloria Estefan, Nicole Byer, Michael Rooker, Leslie David Baker, Katie Lowes, Olivia Trujillo, Lidya Jewett
Genre: Animation, Comedy
Rating: PG
Runtime: 132 minutes
Paste Review Score: 7.4

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Lin-Manuel Miranda’s gift with music is unparalleled. He has the unique ability to pair a rapid and clever turn of phrase with an infectious musical hook. The cadence of his voice conveys a longing and hopefulness which, it turns out, works if you are playing one of the founding fathers or an adorable animated animal. Miranda is the perfect choice to voice the title character in the new Netflix movie Vivo. Vivo is a kinkajou, also known as “honey bear,” a rainforest animal in the raccoon family (although Vivo, with his jaunty hat and stylish scarf, is a lot cuter than a raccoon). Vivo spends his days performing with his owner Andrés (Juan de Marcos González) in Havana, Cuba. Vivo thinks his life and its comfortable predictability is perfect. (Viewers can understand Vivo, but to Andrés and everyone else in the movie, Vivo speaks in adorable coos and gibberish.) One day Andrés gets a letter from his old love Marta Sandoval (Gloria Estefan) asking if he will perform with her one last time at her farewell performance in Miami. Andrés finds the love song he wrote for her years ago and decides he must get the song to her. Alas, a tragedy prevents Andrés from making this journey and Vivo decides he must leave the security of the world he knows to get this song to Marta. Vivo’s travels take him from Havana to Key West to the Everglades to Miami. Along the way he meets Gabi (Ynairaly Simo), a confident, purple-haired 10-year-old who is not in the mood to be like all the other girls. Vivo serves as a vibrant love letter to Cuba, Florida and the people who inhabit them. The more diversity shown in movies aimed at children, the better. Even if this version of Florida is nothing like what we are seeing in the news these days, I’m all for this aspirational Florida. Part adventure, part wistful romance—alongside some nice lessons imparted about friendship, family and taking risks—Vivo is enjoyable and familiar. It probably isn’t a children’s movie we will still be talking about years from now, but I will at least be singing “My Own Drum” for days. —Amy Amatangelo
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