Movies and shows you can stream on Netflix right now

One of the first forays into original films from Netflix was to bring back Pee-wee Herman in a major way for…well maybe not a new generation, but for the Millennials who grew up on Pee-wee back in the day. While “Big Holiday” isn’t as good as “Pee-wee’s Big Adventure,” it is an improvement upon “Big Top Pee-wee,” and since Paul Reubens has passed on, it’s nice we got this third movie in the mix.

“A Very Murray Christmas” is a solidly entertaining Christmas special. “Michael Bolton’s Big, Sexy Valentine’s Day Special” is effectively a parody of Christmas specials while also being an absurdist Valentine’s Day offering. Considering it comes from the minds behind The Lonely Island and “Comedy Bang! Bang!,” that isn’t surprising. This absurdist slice of comedy is unlike anything else of this ilk, making it a good case for checking out Netflix.

The Coen Brothers have gone their separate ways creatively (to the detriment of both, but that’s a story for another day), but before that, they gave us an anthology Western film. Like most anthologies, it is hit or miss. If nothing else, though, it gave us the titular story, which is up first and justifies the existence of the film in and of itself.

An underrated biopic with a lot of notable comedy faces, “A Futile and Stupid Gesture” is a loose biopic of Doug Kenney, one of the founders of “National Lampoon” and one of the screenwriters on “Animal House” and “Caddyshack.” Ever wanted to see Joel McHale play Chevy Chase? Of course, you have!

To the extent romantic comedies still exist, they exist on Netflix, and they aim more toward a YA audience. “To All the Boys I’ve Loved Before” was a minor phenomenon when it arrived, so much so it generated a couple of sequels. It scratches a genre itch that has gotten harder to scratch.

It was the film that brought Eddie Murphy back…sort of. Now, Murphy is legitimately good in “Dolemite is My Name,” and the movie is good as well. It just didn’t prove to be a hit, or buzzworthy when it comes to awards, and Murphy didn’t necessarily soar after it came out. Even so, it feels like a labor of love, and a worthwhile one.

Netflix wanted a Best Picture Oscar so bad! It seems like the studio has given up on that, but for a few years esteemed directors were getting blank checks to do their thing. Martin Scorsese got to make a three-hour crime drama that ends with a lengthy coda about old age and death. Yeah, some snarked at Robert De Niro trying to play a young man beating up a guy (and, to be fair, it did look bad), but “The Irishman” is a great movie even with some questionable decisions.

It feels like “The Power of the Dog” was Netflix’s last hurrah at going all-in on creating Oscar bait. Here is a revisionist Western from Jane Campion of all people. It got plenty of nominations, and Campion did win Best Director. However, “CODA,” which made people largely feel happy and weepy in a good way, won Best Picture. That’s basically what the Oscars has become – An ode to “Isn’t it nice to feel nice?” – and “The Power of the Dog” losing seems to have caused Netflix to give up on Best Picture.

Richard Linklater remains an innovative filmmaker. “Apollo 10 1/2” is distinctly animated, and ostensibly about a kid who secretly is brought into a NASA mission to outer space. What it really is, though, is Linklater basically cataloging his entire childhood. Every movie, every TV show, every dinner, and yet it is utterly compelling. Linklater's film "Hit Man" also ended up on Netflix, and that one proved quite popular with the "They don't make movies for adults anymore" crowd.

Netflix hasn’t given up on big-name directors, but David Fincher’s “The Killer” is more elevated thriller, less Oscar bait. It’s dark and cold, as Fincher usually is, though stylish in a way Fincher is not always. Michael Fassbender plays a hitman who screws up a job, and has to deal with the blowback. Most of the movie is Fassbender unspooling bizarre monologues, which is both unnerving and compelling.

“Wednesday” proved a big hit for Netflix. We don’t have it in the TV section of the streaming guide, though, because it’s not one of the better offerings on the service. Or, at least, there is a better option if you want to enjoy a certain altogether-ooky family. “The Addams Family” is the way to go for your Addams needs. Also, you can basically just watch "Beetlejuice Beetlejuice" as well, since that has the same feeling as "Wednesday."

Speaking of the Coen Brothers, their cult classic “The Big Lebowski” is also on Netflix. Although, can you still be a cult classic when your cult is as large as the one that adores The Dude? The film may be shaggy, but it isn’t slight. “The Big Lebowski” is shot beautifully and is well-crafted filmmaking, not just a funny comedy about a bowling pothead.

Adam Sandler is one of the pillars of Netflix. The service has financed and played home to many films from him. None of them are good. However, a couple other offerings featuring Sandler are also on Netflix. “Uncut Gems” is not for those looking for a goofy, lowbrow Sandler comedy. It’s for people who want to watch the cinematic equivalent of a panic attack, but one featuring perhaps the actor’s best work.

Where do the blockbusters and iconic films live digitally? It’s a question most of us ask in some way now and again. “Jaws” made Steven Spielberg’s career. Many credit it with creating the idea of the summer blockbuster. It’s still considered an American classic. If you want to stream it, Netflix is the place to go.

We wanted to include a film for the whole family to watch. “Goosebumps” is pretty fun, somewhat funny, and manages to dance with horror tropes without really getting into scary territory. Plus, it has a fun meta premise that allows Jack Black to play R.L. Stine. The sequel “Haunted Halloween” is now evidently on Hulu, which is nice because for years it wasn’t streaming anywhere and seemed to have been buried.

Netflix, notably, lost “Friends” and “The Office.” It rebounded, though. “Seinfeld” is better than either of those shows, if not as much a populist favorite. Still, it’s an iconic sitcom, and you can only stream it on Netflix. You know you want to check in on it every now and again.

On the prestige drama front, there’s “Breaking Bad.” The story of a teacher turned meth kingpin was an Emmy darling, and is perhaps the defining drama of its generation (i.e. after “The Sopranos”). Also, while we’re at it, “Better Call Saul” is streaming on Netflix as well.

Again, we like to think of the children and families with at least one offering. A few old Nickelodeon shows like “Kenan & Kel” are on Netflix, but that’s more for nostalgic adults who grew up in the ‘90s. “Scooby-Doo: Mystery Incorporated” is more evergreen, and it remains on Netflix even with much of the “Scooby-Doo” fare on Max. We will note that “Mystery Incorporated” is more serialized and perhaps a notch or two more “spooky” than most of Scooby and the gang’s adventures, but nothing too intense.

“Arrested Development” splits the difference. It started on FOX, and there it became a cult sitcom. Then, Netflix brought it back, getting to that trend early. Netflix produced two new seasons of “Arrested Development” and they are…okay. Ultimately, maybe it ended up a little Monkey’s Pay-adjacent, but those first three seasons are still killer.

In terms of Netflix originals, “Stranger Things” has had the largest cultural impact, and it is also arguably the best. For many, it started as a chance to ensconce one’s self in the trapping of ‘80s pop culture. Now, it creates those trappings for a new generation. “Stranger Things” has also helped to mint some new stars, and not just kids. Where would David Harbour’s career be without “Stranger Things?” The fifth season will finally arrive in 2025, for those who have been holding onto Netflix waiting for this story to conclude.

Unfortunately, the planned fourth and final season of “GLOW” was a COVID-19 casualty. At least we got three high-quality seasons. Yes, there’s a lot of funny stuff in this show about the Gorgeous Ladies of Wrestling. However, there’s also plenty of well-earned drama in the mix, and some strong acting as well.

Tina Fey’s “30 Rock” was a glorious joke factory. She brought that energy to “Unbreakable Kimmy Schmidt,” but also somehow managed to mine comedy from a show about a woman rescued from a malevolent cult leader. Ellie Kemper leads an incredible cast in a comedy that manages to be absurd, dark, emotional, and all in all wonderful. The interactive movie was...interesting. Worth giving a shot once.

It’s great to live in a world where Natasha Lyonne is famous enough to be in clothing ads. She’s got “Poker Face” now, but “Russian Doll” is just as good of a show. The first season is like a darker “Groundhog Day,” trippy and funny. There was also a second season that was perhaps a stretch, but still worth watching. A third season? Now that would be a real stretch.

Every streaming service caters to people who love “British stuff.” On Netflix, there are options. “The Crown,” for example. However, if we are going to recommend one of the British offerings, we’ll go with the one where people are always ripping bodices and having sex. Give us the pulpiness of Shonda Rimes. Give us “Bridgerton.”

The limited series is now commonplace. Netflix gave us one of the best offerings on that front in recent memory. Anya Taylor-Joy plays a hard-living chess prodigy, but it is an interesting study in obsession, perfection, and playing mind chess on the ceiling.