Sophie Wilde stars in the 2022 horror film ‘Talk to Me.’
Netflix
Each month brings us a fresh batch of new movies to watch on Netflix. But we lose a number of movies as well, and some great ones are exiting the streaming platform by Oct. 1, 2025. That includes some new releases, such as an A24 scary movie that shook the horror-loving community back in 2022; some forgotten gems, such as a non-traditional thriller that owes its slow-burn aesthetic more to classic European cinema than showy Hollywood productions; and insightful documentaries, such as a quiet, meditative story about migration that allows a granddaughter to understand her grandfather’s decades-long plight. All these movies and more will be gone from Netflix in just a matter of days.
So what movies should be added to your watchlist before they disappear by the end of September? I’ve got five films picked out that cover a variety of tastes and moods. For each, I’ve included reasons you should watch them, as well as a trailer and plot synopsis. And at the end of the article, you can find a full breakdown of every single movie leaving Netflix this month.
5 Great Movies Leaving Netflix in September 2025
Talk to Me (2022)
As a huge horror buff, I honestly have trouble with modern horror movies sometimes, many of which seem to put their gimmicks before the characters—but that’s not the case with Talk to Me, a film that decidedly places importance on the psychological over the supernatural. Helmed by first-time directors Danny and Michael Philippou (who were previously best known for their hyper-violent YouTube channel RackaRacka), the story begins with a fantastical party trick and ends somewhere way darker, way sadder, way more brutal than you’d ever expect. The film follows Mia (Sophie Wilde), a teenager still reeling from her mother’s death, who gets sucked into a game of viral possession with her friends: you grasp a creepy ceramic hand that allows you to talk to the dead. The game is played for laughs and TikToks, but Mia’s curiosity turns desperate when the hand literally connects her with her mother. Much like many classic horror films that weaponize folklore or urban legends (The Ring, Candyman), Talk to Me boldly creates its own mythology and rules, with the universe’s malevolent spirits manipulating the teenaged characters by impersonating loved ones and feeding off their trauma, particularly Mia’s unresolved grief. Wilde’s gripping performance anchors the film; her portrayal of heartache, denial and eventual spiritual unraveling is incredibly intense and heart-wrenching.
The American (2010)
Although The American is based on the 1990 novel A Very Private Gentleman by Martin Booth, the screenplay by Rowan Joffé (writer of 28 Weeks Later and director of Before I Go to Sleep) significantly alters the tone and structure, trading espionage-plot density for an existential slow-burn thriller that, in hindsight, has strengthened the film’s influence, its cachet in the succeeding years. The story centers on the skilled-yet-weary assassin Jack (played by George Clooney, who also served as producer and fully committed to the role by learning gunsmithing techniques) as he goes into hiding in rural Italy after a botched job in Sweden went violently wrong. Settled in the quiet town of Castel del Monte, and under the watchful eye of his handler Pavel (Johan Leysen), Jack is tasked with crafting a custom sniper rifle for an unknown client. While he strives to remain inconspicuous, he finds himself drawn into some local relationships—particularly a tentative romance with a local sex worker, Clara (Violante Placido), and a cautious friendship with a village priest (Paolo Bonacelli). The looming shadows of his past and his commitment to solitude and secrecy are tested as he becomes attached to this new life. The American was directed by Dutch photographer-turned-filmmaker Anton Corbijn (best known for his iconic work with bands like U2 and Nirvana, as well as his 2007 Ian Curtis biopic Control), who didn’t want to create a traditional thriller but instead a meditative character study, a European art film wrapped in the skin of a spy movie, à la Jean-Pierre Melville and Michelangelo Antonioni.
A Good Old Fashioned Orgy (2011)
Imagine being caught in a situation that’s so bizarre, so unexpected, so awkward that you couldn’t help but turn it into a movie. Well, that’s exactly what happened when Alex Gregory and Peter Huyck (directors of the film) heard that their writer friend attended a spontaneous party that turned into something more provocative: an orgy. Ripe for an ensemble cast that can handle comedy charged with tension and discomfort, the story turned into the now relatively forgotten gem-in-the-rough A Good Old Fashioned Orgy, which feels like one of the last remaining relics of late-2000s comedies. This wacky tale tells us of the thirty‑something party enthusiast Eric (Jason Sudeikis), who has always hosted themed parties in his father’s Hamptons estate. But after Eric learns his father plans to sell the house, he and his best friend Mike (Tyler Labine) decide to stage one final epic send-off in the form of—yes, you guessed it—a massive orgy. They must then convince their reluctant friends (filled out by a stellar cast that consists of Lake Bell, Lindsay Sloane, Will Forte and Nick Kroll) to get on board with the wild idea, all while Eric navigates a potential romance with the house’s real estate agent, Kelly (Leslie Bibb). The result is a rather light and playful romp that heavily leans on awkward humor, banter and character chemistry rather than shock value. Yet A Good Old Fashioned Orgy occasionally dips into vulnerable reckonings as characters question their self‑worth and life choices.
What We Leave Behind (2022)
Sometimes the most impactful, compelling stories are told by relatives. Certain documentaries immediately come to mind, like Dick Johnson is Dead, Stories We Tell and Mija. Another great film we can throw into that mix is What We Leave Behind, a deeply personal documentary from filmmaker Iliana Sosa, who wanted to document her grandfather Julián’s life as he migrated between Mexico and the United States, working as a bracero and making regular stops to visit his children and grandchildren in Texas. In particular, Sosa seems fascinated by a house that Julián quietly began to build in an empty lot beside his home in Mexico. Across years of observation, Sosa weaves together a tender portrait of family, memories and distance as she recollects her grandfather’s labor, his memories of migration, his moments of speech and silence, all the while questioning whether this new house can symbolically serve as a bridge between family members separated by both distance and time. The film’s meditative pace, deliberate and unhurried, lingers on simple tasks, like carrying bricks and adjusting mortar, and basks in the quiet landscapes as Sosa creates a temporal texture that underscores the slow passage of time that is central to understanding Julián’s harrowing journey.
Now You See Me (2013)
Heists are ripe for stories, especially in cinema, and each year we see filmmakers take stabs at bringing fresh and creative angles to such well-trodden territory. But, in my opinion, nothing yet has topped Boaz Yakin and Edward Ricourt’s original script for Now You See Me, in which four disparate magicians are brought together to conduct what may well be the most elaborate trick in human history. The four illusionists in question—J. Daniel Atlas (Jesse Eisenberg), Merritt McKinney (Woody Harrelson), Henley Reeves (Isla Fisher), and Jack Wilder (Dave Franco)—are mysteriously brought together by a mysterious benefactor to rob from the rich and give to the poor. Known as “The Four Horsemen,” this gang is chased across the globe by FBI agent Dylan Rhodes (Mark Ruffalo) and Interpol detective Alma Dray (Mélanie Laurent), as well as former magician-turned-debunker Thaddeus Bradley (Morgan Freeman), as it performs a series of seemingly impossible-to-pull-off heists. The best part of Louis Leterrier’s slick and stylized collection of setups and misdirections (the director also did films like the Transporter series, Clash of the Titans and Fast X) is that we, the viewers, are deliberately kept in the dark about the stunts, so each and every reveal (including the final mind-boggling one) takes us by surprise completely.
Every Movie Leaving Netflix in September 2025
Note: The dates mark your final days to watch these movies.
- September 26: Hook (2020); The Miracle Club (2023); The Munsters (2022)
- September 27: Cry Babies Magic Tears (2023); The Underclass (2020)
- September 28: Battle (2018); Frank (2014)
- September 29: What We Leave Behind (2022)
- September 30: A Good Old Fashioned Orgy (2011); A Million Ways to Die in the West (2014); A Night at the Roxbury (1998); Alpha (2018); American Graffiti (1973); American Pie (1999); American Pie 2 (2001); Big Daddy (1999); Blades of Glory (2007); Bonnie & Clyde (2013); Born on the Fourth of July (1989); Coneheads (1993); Dazed and Confused (1993); Dragnet (1987); Dune (1984); Focus (2015); Friday Night Lights (2004); Good Burger (1997); Green Zone (2010); Grown Ups (2010); Hop (2011); Insidious: Chapter 2 (2013); Judy (2019); Kandahar (2023); Krampus (2015); Last Seen Alive (2022); Mary and The Witch’s Flower (2017); Miss Juneteenth (2020); Mission: Impossible (1996); Mission: Impossible II (2000); Mission: Impossible III (2006); Mission: Impossible – Ghost Protocol (2011); Mission: Impossible – Rogue Nation (2015); Modest Heroes: Ponoc Short Films Theatre (2018); Neighbors (2014); Now You See Me (2013); Now You See Me 2 (2016); Old School (2003); Rudy (1993); Rush (1998); Rush Hour 2 (2001); Rush Hour 3(2007); Slap Shot (1977); Spoiled Brats (2021); Superstar: Dare to Dream (1999); S.W.A.T. Under Siege (2017); Talk to Me (2022); The Age of Innocence (1993); The American (2010); The Blues Brothers (1980); The Deer Hunter (1978); The Departed (2006); The Equalizer 2 (2018); The Great Outdoors (1988); The Great Waldo Pepper (1975); The Interview (2014); The Prince of Egypt (1998); The Tale of Despereaux (2008); The Theory of Everything (2014); U-571 (2000); Van Helsing (2004); Wayne’s World (1992); Wayne’s World 2 (1993); Wrath of the Titans (2012); Wyatt Earp (1994); Zoolander (2001)