Another month, another set of movies to stream.
Netflix expanded its streaming library in September with a new slate of films, including modern masterpieces and older family classics. It’s a big month for the streamer, who will also be launching a number of new series, including the Jason Bateman/Jude Law prestige play “Black Rabbit.”
Check out the seven best new movies on Netflix this September.
“Are You There God? It’s Me, Margaret.”
Kelly Fremon Craig brought the Judy Blume classic “Are You There God? It’s Me, Margaret.” to life in 2023 to resounding effect. In her film of the same name, Fremon Craig adapts the middle-grade coming-of-age book with a deft hand, perfectly weaving between the dramatic and comic elements of the story. Like the book, Fremon Craig’s film doesn’t avoid the tough conversations: about religion, about puberty, about family and, above all, about growing up.
These themes are exemplified by strong performances from the central cross-generational cast. Abby Ryder Fortson (whom you may remember as Scott Lang’s young daughter in “Ant-Man” or, more recently, a young woman seeking an abortion in “The Pitt”) leads this ensemble well, conveying the joys and uncertainties that come with your first tastes of growing up. By far the standout of the group, Rachel McAdams delivers a shattering performance as Margaret’s mother, whose parents cut her off after she married a Jewish man (Margaret’s father, played by Benny Safdie). McAdams elevates already compelling material, turning in a best-of-the-year supporting performance.
“Bridesmaids”
Pound for pound, “Bridesmaids” is surely one of the funniest films you can find on Netflix this September. There’s a lot to say about why that is — a clever screenplay from Kristen Wiig and Annie Mumolo, committed performances from a top-notch cast, and characters that feel genuine even in their absurdity. Quickly, it became one of the most celebrated comedies of the past few decades, a deserving accolade that was reemphasized when it grabbed the 32nd slot in the NYT 100 Best Movies of the 21st Century list this year.
There are precious few examples of a comedy movie having the same impact as “Bridesmaids” in the modern day. The film, directed by Paul Feig, shattered a barrier that generally keeps broad comedies from entering the Academy Awards conversation. It’s hard to imagine a script containing the words “Ooh, you’re really doing it, aren’t ya? You’re s–ttin’ in the street!” getting nominated for Best Original Screenplay, or a powerhouse comic performance like Melissa McCarthy’s picking up a Best Supporting Actress nod.
But they did, and they should.
“Edge of Tomorrow”
Based on Hiroshi Sakurazaka’s novel “All You Need Is Kill,” “Edge of Tomorrow” places Tom Cruise in an action-filled “Groundhog Day” scenario that is an absolute treat. Doug Liman directs this remake that takes liberty with the source material, working off a script from Jez Butterworth, John-Henry Butterworth and now-frequent Cruise collaborator Christopher McQuarrie.
Cruise makes a meal out of this premise, playing up both the physical comedy and the action star elements of his persona. Starring opposite him is Emily Blunt, playing the exceptionally badass Sergeant Rita Vrataski in one of her strongest performances to date. This pair takes the premise of “Edge of Tomorrow” (alternatively referred to as “Live. Die. Repeat.”) to the next level, creating a delightful action movie that’s fun to watch over and over again.
“E.T. the Extra-Terrestrial”
There are a handful of movies among Steven Spielberg’s vast filmography, probably somewhere in the neighborhood of 10, that scream “stone-cold masterpiece.” “E.T. the Extra-Terrestrial” certainly belongs among this number.
As someone who has never existed in a world without E.T., it’s hard to conceptualize how difficult a task Spielberg and company had before them. Here, they had to take a shriveled, gray, oddly-proportioned creature and turn him into a child’s best friend, a huggable being of pure beauty. Even as his bulbous fingers glow, even as he cranes his long, ridged neck, even as he waddles about in the nude, E.T. must always be a creature of delight, not one of fear or disgust.
But Spielberg has always been in the business of making magic. “E.T.” is one of the purest distillations of the director’s unparalleled ability to capture pure wonder on the screen, working with a soaring John Williams score, iconic creature design by Carlo Rambaldi and a breathtaking screenplay by Melissa Mathison. The film also benefits from a collection of incredible child actors. Drew Barrymore, at only 6 years old, gives a completely moving performance as Gertie, while 10-year-old Henry Thomas turns in one of the greatest child performances of all time. I don’t know that I’ve ever watched the film’s final scene without shedding a tear.
“Inglourious Basterds”
“I think this might be my masterpiece.”
Quentin Tarantino decides to end “Inglorious Basterds” — the sixth film in his proposed 10-movie career — on Brad Pitt uttering these words directly into camera. Pitt’s line clearly alludes to the movie itself, the actor becoming a vehicle for Tarantino to remark upon the film’s quality to his audience. It’s a bold movie, calling your shot like this on such a public scale.
Good thing he was right.
“Inglourious Basterds” is the first of Tarantino’s several historical re-write epics, the beginning of a new phase in the writer/director’s illustrious career. The film crosses between multiple characters with distinct narratives, intersecting at a crucial point during World War II. It’s a thrilling film from top to bottom, one that sees Tarantino at the top of his game, delivering a raucous, madcap ending. The vast cast of “Basterds” features a number of memorable performances — most notably, Christoph Waltz in a terrifying, pitch-perfect, Oscar-winning role that essentially launched his U.S. career.
“Long Shot”
“Long Shot” didn’t make waves when it came out, but it remains one of the most underappreciated movies of the 2010s. This political comedy, more in the mold of “Dave” than Adam McKay, follows Fred Flarsky (Seth Rogen), an ex-journalist who becomes a speechwriter for his former babysitter/crush Charlotte Field (Charlize Theron) as she campaigns to ascend from Secretary of State to President of the United States.
Rogen and Theron carry the film with exceptional chemistry. Dan Sterling
and Liz Hannah’s sharp script, helmed by “50/50” director Jonathan Levine, balances the romantic tension and political satire well. As the studio comedy and the romantic comedy at this level circle the drain, “Long Shot” is a great case of “They don’t make ’em like they used to” — and, when they do, people don’t see ’em like they used to.
“Willy Wonka & the Chocolate Factory”
Gene Wilder was a singular talent. He was an everlasting gobstopper of a comic actor, constantly revealing new colors and flavors to his deadpan wit and calculated mania. Some have tried (Ryan Gosling in particular feels cut from this cloth), but no actor has ever fully replicated Wilder’s voice. Never letting you know what to expect, he was the king of comic timing.
This energy suits Willy Wonka perfectly — an iconic children’s book inventor who is definitely magical and probably crazy. Wilder plays the character with both warmth and malice, a hermit opening his heart just enough to find a successor to the world he created. Memorable music from Leslie Bricusse and Anthony Newley, charming performances from Peter Ostrum and Jack Albertson, and transportive production design led by art director Harper Goff work in tandem to make this film a family masterpiece. The Wonka well has been returned to a couple of times now, with varying degrees of effectiveness, but it’s hard to beat the charm and whimsy Mel Stuart imbues in this first crack at the fictional chocolatier.
