10 Great Movies Leaving Netflix At The End Of July

Honestly, it’s hard for me to commit to a new Netflix release when there are so many great movies constantly leaving the platform—at the end of each month, I’m forced to scour through the flicks leaving the Netflix library so I can watch them before they’re gone. And July is no different, as dozens of awesome movies will be gone from Netflix come August 1. In particular, there are ten movies I want to highlight. And don’t worry, all types of films are covered, from horror movies with strong female protagonists that rewrite the rules of the genre, to real-life sports documentaries that play like a high-stakes thrillers, to hilarious coming-of-age stories for people who think they’ve already grown up. It’s all part of a killer lineup that’ll be gone in a matter of days.

So let’s get to it. Here are ten soon-to-be-gone movies I think you should put on your watchlist. For each film, I’ll describe the plot and why I think you should watch it, and provide a trailer. Then at the end of the article, you can find a full list of every movie leaving Netflix by the end of July, and which days they’ll be gone. At this point, there’s nothing left to do but make your picks. Happy watching!

10 Great Movies Leaving Netflix In July 2025

Scream VI (2023)

It’s hard to imagine a Scream movie not taking place in a suburban, small-town setting, with Woodsboro serving as the source backdrop for the franchise. By placing a slasher story in a place that feels familiar, safe and insulated, Scream exploits the unsettling idea that horror can invade even the most ordinary lives. That’s what made Scream VI’s switch to the city so shocking—a bold, creative shift that gave the franchise a new flavor: urban paranoia, subway horror and claustrophobic high-rises had replaced quiet suburbia. And it’s awesome to watch. Picking up right after the shocking events of the last film, Scream VI sees sisters Sam and Tara Carpenter (Melissa Barrera and Jenna Ortega) leaving Woodsboro behind to start fresh in New York City. But, as one would expect from the sort of franchise that constantly rewrites the rules of “final girl” syndrome in horror movies, a new Ghostface emerges in the metropolitan sprawl. The sisters and their friends are then forced to navigate the latest Scream entry’s shifting rules of horror, to outsmart a twisted version of the Ghostface game that plays on surveillance, online culture and urban isolation. It’s a smart and fast-paced slasher that proves the franchise can still reinvent itself—perfect for a late-night scare before it vanishes from Netflix.

Senna (2010)

Hollywood likes to transfer real-life stories to the big screen—but not always in the most flattering of manners. Most notably I think of screenwriter (and now a successful director) Aaron Sorkin, who wrote screenplays that depicted such figures as Art Howe (in Moneyball) and Mark Zuckerberg (The Social Network) in a less-than-ideal light; in a manner that, as he openly acknowledges, is more cinematic and entertaining than honest. That’s why a documentary like Senna hits so hard, because it shows just how powerful an honest story can be; director Asif Kapadia made the bold decision to eschew traditional talking-head interviews and tell Ayrton Senna’s story entirely through archival footage—through race broadcasts, home videos, interviews and on-board camera feeds. The result is a critically lauded documentary (it currently owns a 93% rating on Rotten Tomatoes) that employs a resounding score from composer Antonio Pinto (who did the music for City of God) to create a film that feels more like a narrative drama than a traditional documentary. The movie’s story unfolds from Senna’s debut in 1984 to his heartbreaking death at Imola in 1994, immersing the viewer in multiple aspects of his career, from his fierce rivalry with Alain Prost to the politics of the sport, from his spiritual intensity to his growing commitment to Brazil’s impoverished youth.

Family Plot (1976)

There are several great movies directed by Alfred Hitchcock leaving Netflix this month, from Psycho to Vertigo to the much-underrated Frenzy—and believe me when I say that you should make time for all of them, if possible. But if you’ve seen those movies before, or if you’re looking for a bizarre new experience that treads outside the standard Hitchcock formula, then why not take a chance with what happens to be Hitchcock’s final film, Family Plot. The story follows a pair of unlikely partners—Claire (Barbara Harris), a fake psychic, and her con-man boyfriend George (Bruce Dern)—who are hired to locate an heir whose wealthy aunt has mysteriously disappeared. Meanwhile, Catherine (Karen Black), a short-haired jewel thief, ropes in her dim-witted ex-shipyard fiancé to assist with a daring kidnapping plot. As the two duos unknowingly orbit the same dangerous secret, Hitchcock unfolds a tight, twisty game of cat-and-mouse full of charming banter and cleverly constructed tension. It’s a lighter, more playful thriller from the master of suspense; a perfect blend of humor, charm and just enough darkness to keep you guessing until the final frame.

You Hurt My Feelings (2023)

Nicole Holofcener, who has directed a number of great character studies, from Walking and Talking to Friends with Money to Enough Said, has a great touch behind the camera. Working in an industry dominated by spectacle and high-stakes conflict, Holofcener consistently turns her camera toward the subtle, often overlooked emotional terrain of everyday life—the anxieties of aging, the doubts that come with building a career, the tiny lies people tell to stay afloat in their relationships. And what I consider to be her best feature, You Hurt My Feelings, is based on a fear any creative person may share with the main character: the realization that your loved one secretly dislikes your work. Julia Louis-Dreyfus stars as Beth, a novelist who discovers her husband Don has secretly told his friends he doesn’t actually enjoy her writing. Struggling with this revelation, Beth begins to overthink everything—conversations with her teenage son, weekend plans, even redefining her sense of self-worth. Tobias Menzies brings warmth and regret as Don, and their chemistry carries the film as it navigates apologies, insecurities and small kindnesses with impeccable nuance.

Dunkirk (2017)

Christopher Nolan finally got his Academy Awards due when he won Best Director (and subsequently Best Picture) for his epic character study about the man who created the atomic bomb, Oppenheimer. But before that, as many of his fans will testify, he had produced a number of classic films that will be remembered forever, from The Dark Knight to Memento to Interstellar. But the one that Nolan seemed to care most about was the one that hit closest to home for the British filmmaker: historical war epic Dunkirk, in which he strips away the dialogue-heavy exposition that usually populates his film in favor of relentless tension, haunting visuals and pulsating sound design that was rewarded with multiple Oscars. The film follow three parallel stories—land, sea and air—as Allied soldiers (led by Fionn Whitehead), a civilian boat captain (Mark Rylance) and an RAF pilot (Tom Hardy) each play their part in the daring evacuation from the beaches of Dunkirk in 1940 during World War II. Nolan’s choice to use practical effects, IMAX cameras and a ticking Hans Zimmer score makes every aerial dogfight and drifting life raft feel breathlessly immediate, resulting in an experiential masterpiece.

Shortcomings (2023)

Randall Park has been one of the funniest guys in comedy since…well, as far as I can remember. I’ve always loved his sense of humor, dating back to when I first heard him on the Face/Off episode of the so-bad-it’s-good movie podcast How Did This Get Made. Between that and his appearances on TV shows I love, like Reno 911!, Community and New Girl, and not to mention his critically adored performance on Fresh Off the Boat, as well as dozens of movies, he’s always been a joy to watch. But perhaps his best feature is one where he remains behind the camera—a little movie he directed called Shortcomings. This sharp and hilarious character study based on the graphic novel by cartoonist Adrian Tomine follows Ben (Justin H. Min), an aspiring filmmaker/film school dropout living in Los Angeles who can’t quite get out of his own way—especially when it comes to relationships. As a young Asian-American trying to make it in American society, Ben deals with cultural identity and his tendency to overanalyze everything around him as his fixations, whether it’s a new girlfriend or a vision of what his career should look like, inevitably tumble under the weight of his insecurities and unapologetic honesty. Park keeps the tone light but never dismissive, blending dry wit with emotional beats that land with surprising resonance, offering a reflective look at the small regrets and big ambitions that shape who we become.

Everest (2015)

There’s a special collection of movies I love that belong in the “I watched these at my mom’s house” category—meaning whenever I visit home and stay over at my mother’s place, there’s a certain kind of movie you throw on the television. Often that movie simply serves as background noise, like some sort of Lifetime feature or a braindead action movie. But sometimes the movie surprises you with its depth and watchability—and that was certainly the case with Everest, a survival drama that chronicles the harrowing true story of the 1996 Mount Everest expedition gone disastrously wrong. The mission, led by veteran guides Rob Hall (Jason Clarke) and Scott Fischer (Jake Gyllenhaal), features two climbing teams that battle exhaustion, treacherous weather and dwindling oxygen as they near for their summit finish line, only to find themselves caught in a lethal blizzard on the descent. Director Baltasar Kormákur has an amazing eye for this sort of feature, with the breathtaking cinematography of the Italian Alps capturing every crevasse, wind gust and collapsing anchor, putting you right in the midst of the action. With a dynamite cast that includes Josh Brolin, Keira Knightley, Emily Watson and Robin Wright, Everest is much more than a disaster narrative—it’s a testament to human determination.

Sonic the Hedgehog 2 (2022)

I think it’s safe to say that it surprised everyone when the filmic adaptation of the video game Sonic the Hedgehog—an endeavor that was almost immediately met with a sea of rolling eyes, especially after the initial crude renderings of the main character—was actually…good? While the 64% rating on Rotten Tomatoes wasn’t stellar, the worldwide $320 million box office pull certainly was. Even more surprising? The sequel one-upped the original movie in both departments, packing both a 69% score and a $405 million gross. Sonic the Hedgehog 2 centers on our main guy Sonic (voiced by Ben Schwartz), who is eager to prove himself as a hero while living peacefully in Green Hills. But everything is thrown for a loop after the arrival of Knuckles (Idris Elba) and the return of Dr. Robotnik (Jim Carrey), who together threaten to upend his realm. Sonic teams up with Tails (Colleen O’Shaughnessey), the loyal two-tailed fox, for a globe-trotting adventure that zips everywhere from snowy mountains to ancient temples. Carrey, who was the highlight of the first film, only doubles down on his manic villainy, while Elba matches Carrey’s demented darkness, bringing a touch of much-needed attitude to the mix. Whether you’re there for sonic booms, cartoonish action or heartfelt lessons about friendship, Sonic the Hedgehog 2 delivers a feel-good, family-friendly ride.

The Place Beyond the Pines (2012)

Derek Cianfrance had the indie film world in the palm of his hand back in 2010 after his incredible collaboration with Michelle Williams and Ryan Gosling, Blue Valentine. That film’s stouthearted, love-soaked, tragedy-tinged depiction of a romance dissolving over a number of years was achieved by Cianfrance’s raw, intimate, improvisational approach to dialogue, which achieved a unique ambiance that won critics over in droves. It’s a shame, then, that Cianfrance’s output became so sparse, producing just two films he directed, one of which many consider to be his greatest film: The Place Beyond the Pines. This generational crime drama opens with a mesmerizing motorcycle stunt by rider Luke (Ryan Gosling), whose reunion with an old flame leads him to rob banks for the sake of his newborn son. When his impulsive actions cross paths with an ambitious rookie cop named Avery (Bradley Cooper), the film becomes a taut moral reckoning: How far will a man go for family? And what collateral damage does that leave behind? In the end, Cianfrance’s atypical slow-burn heist thriller stands as an intimate, quietly powerful epic about choices, consequences and how our sins are passed down to new generations.

Fallen (2016)

I’m saving Fallen for last because it’s different from all the other movies on this list: it’s a bad movie. But when I say “bad,” I don’t mean it’s hard to watch—in fact, quite the opposite. I only mean that the general public would (and did, according to its 7% score on Rotten Tomatoes) greet this movie with vitriol. But the real problem is you need to be in the right headspace; you need to accept that this movie is completely ridiculous, that it doesn’t believe in playing by the rules, that you and a group of friends (perhaps guided by some libations) can have one heck of a time watching this Twilight-inspired romance based on on Lauren Kate’s popular YA novel. Our central character is Luce Price (Addison Timlin), who is sent to the mysterious Sword & Cross Academy after a tragic accident. Immediately (here begin the allusions to Bella from Twilight), she’s drawn to the brooding Daniel Grigori (Jeremy Irvine), but it quickly becomes clear he’s no ordinary student: he is a fallen angel cursed to fall in love with Luce every 17 years. This passionate, bittersweet tale of fate and destiny is brimming with teenage angst, it’s got a handful of absolutely mind-blowing shots, the acting is committed—and, perhaps most important of all, it’s quite watchable. Not a bad way to spend movie night, if you ask me.

Every Movie Leaving Netflix In July 2025

Note: The dates mark your final days to watch these movies.

• July 19: Smurfs: The Lost Village (2017)
• July 24: Scream VI (2023)
• July 25: You Hurt My Feelings (2023)
• July 27: Sonic the Hedgehog 2 (2022)
• July 30: Seriously Single (2020)
• July 31: Are We Done Yet? (2007); Bobby Z (2007); Conan the Destroyer (1984); Dawn of the Dead (2004); Dunkirk(2017); Everest (2015); Fallen (2016); Family Plot (1976); Field of Dreams (1989); For the Love of the Game (1999); Frenzy (1972); Happy Gilmore (1996); Hitchcock (2012); Jack the Giant Slayer (2013); K-9 (1989); Lucy (2014); Matilda(1996); Mid90s (2018); Psycho (1960); Rear Window (1954); Return to the Blue Lagoon (1991); Rooster Cogburn (1975); Senna: No Fear, No Limits, No Equal (2010); Shortcomings (2023); Smokey and the Bandit (1977); Smokey and the Bandit II (1980); Sniper (1993); Sniper: Ghost Shooter (2016); Spanglish (2004); The Best Man Holiday (2013); The Birds (1963); The Five-Year Engagement (2012); The Furnace (2021); The Ghost and the Tout (2018); The Infiltrator(2016); The Lego Movie (2014); The Man Who Knew Too Much (1956); The Place Beyond the Pines (2012); The Shack(2017); The Sugarland Express (1974); The Town (2010); The Wedding Planner (2001); Tiger 24 (2022); Trolls (2016); Uncle Buck (1989); Vertigo (1958)