10 Must-See Movies Leaving Netflix In August

Sophia Lillis stars as Doric in the 2023 fantasy film ‘Dungeons & Dragons: Honor Among Thieves.’

Netflix

Pet sharks and underground labyrinths, unwelcome doppelgängers and vegetable-hungry monster-rabbits, rogue planets heading for Earth and diabolical Red Wizards—what do all these factors share in common? They make up a stellar lineup of films that will soon be exiting the Netflix platform. After August 31, dozens of movies will disappear from the platform, meaning you’ve only got a few days left to watch them. Among my favorites includes an underrated horror film from the 2020s that digs into generational trauma for women, a forgotten martial arts film that is packed full of incredibly grounded fight choreography, and a family-friendly comedy that stands as one of the best-reviewed films on all of Rotten Tomatoes—that’s just a tiny preview of the eclectic selection available to Netflix subscribers this month.

So where should you start? To help, I’ve picked out ten movies you shouldn’t miss. For each film, I’ll provide a trailer, as well as a plot synopsis and why you should watch it. Then at the end of the article, you can find a full list of every single movie leaving Netflix at the end of August. Hopefully, you can find your next movie night movie in this bunch. Happy watching!

10 Great Movies Leaving Netflix in August 2025

Dungeons & Dragons: Honor Among Thieves (2023)

One of the best recent forays into the fantasy genre, Dungeons & Dragons: Honor Among Thieves, takes us to the world of Faerûn to follow bard and former Harper Edgin Darvis (Chris Pine), who breaks free from prison with his barbarian companion Holga Kilgore (Michelle Rodriguez) to reunite with his daughter. But, during their absence, everything has changed, as their old ally, Forge (Hugh Grant), is now a powerful ruler in Neverwinter and raises Edgin’s daughter as his own. To bring his family back together, Edgin assembles a ragtag team: Simon the insecure sorcerer (Justice Smith), Doric the shapeshifting druid (Sophia Lillis) and Xenk the noble paladin (Regé-Jean Page), who all band together to navigate deadly traps, fight powerful enemies and face off against the powerful Red Wizard. A huge hit with critics (the film sports a 91% approval rating on Rotten Tomatoes), this video-game-turned-movie really comes to life thanks to writers-directors John Francis Daley and Jonathan Goldstein, who have an incredible sense of pacing and structure that allows their character-driven adventure, their creative use of magic and visual effects, their sense of comedic timing and self-awareness to coalesce into a beautiful, super-entertaining whole.

Barbarian (2022)

One of the most slept-on horror movies in recent member, Barbarian centers on Tess (Georgina Campbell), who, on the heels of a breakup with her volatile ex-boyfriend, arrives at a rental house in a rundown Detroit neighborhood—only to discover it’s already occupied by a man named Keith (Bill Skarsgård). Against her better judgment, she agrees to stay the night, kicking off what initially feels like a romantic comedy with a black streak. But later that night, the movie takes a dark, abrupt turn Tess suspects there’s something far more sinister lurking in this house than a simple booking mix-up. After an insane basement discovery, the film shifts perspectives and timelines to reveal a deeper, more disturbing truth beneath the floorboards—both literally and figuratively—involving a labyrinth of tunnels, a monstrous figure known only as “The Mother” and a legacy of abuse that stretches back decades. This genre-bending film from writer-director Zach Cregger (the man who recently directed the box office juggernaut Weapons) thrives because of its completely unpredictable structure, with its multiple narrative segments dramatically shifting in tone, perspective and chronology as Barbarian explores generational trauma and highlights the fear and unpredictability often present in situations where women interact with potentially abusive men.

Anchorman 2: The Legend Continues (2013)

I’m tempted to recommend Anchorman: The Legend of Ron Burgundy—another movie that’s leaving Netflix at the end of August—but part of me wonders if anyone ever gave Anchorman 2: The Legend Continues a proper chance. Personally, I wasn’t a huge fan after my first watch…but a second viewing had my sides hurting, so I’m choosing the sequel as my recommendation. This absurdist comedy follows the further adventures of Ron Burgundy (Will Ferrell), who, after being fired from his San Diego news station and separating from his wife and former co-anchor Veronica Corningstone (Christina Applegate), finds himself washed up. But everything changes once he’s invited to join the world’s first 24-hour news channel, GNN (Global News Network). After reuniting with his old news team—Brick Tamland (Steve Carell), Brian Fantana (Paul Rudd) and Champ Kind (David Koechner)—Ron attempts to reclaim his glory in New York City. But times have changed, and this team of buffoons is forced to grapple with changing industry ethics and sensationalist journalism in its transition, all while Ron faces an identity crisis that challenges his bravado, his massive ego. Once again co-written by Will Ferrell and Adam McKay, this film finds unexpected depth as director McKay employs his satirical lens (remember, this is the man who would go on to direct The Big Short, Vice and Don’t Look Up) to critique the absurdity of mass media that came with 24-hour cable journalism.

Blood and Bone (2009)

It’s always a gamble to frame a film around a martial artist. There have been plenty of instances where it’s worked beautifully, like with Bruce Lee, Tony Jaa and Jean-Claude Van Damme, but there are also many head-scratching cases where the films never quite coalesce. Let’s take the case of Blood and Bone, a winning martial arts film in which Michael Jai White, a real-life black belt in multiple disciplines, was the center of attention as Isaiah Bone, a recently released ex-convict with a mysterious past—and, of course, insane martial arts skills. After he arrives in Los Angeles, Bone becomes part of the underground world of street fighting and quickly rises through the ranks. With the help of a fast-talking promoter named Pinball (Dante Basco), Bone catches the eye of fight organizer James (Eamonn Walker), who is part of a wealthy network running a high-stakes fight circuit (note the similarities to one of Van Damme’s best movies, Lionheart). But Bone’s ascent isn’t about fame or fortune: he has a hidden motive tied to his prison time, to a promise made to a fallen friend. Ultimately, what makes a film like this work isn’t the drama or the acting, but the fighting itself—and boy does Blood and Bone deliver. White performs all his own choreography, helping to ground the action in authentic movement and technique. This approach helps director Ben Ramsey realize a gritty, urban L.A. aesthetic, opting for easy-to-follow camera work as opposed to flashy movements. The action is crisp, clean and rhythmically edited, emphasizing real-world impact over wire-work or CGI.

Wallace & Gromit: Curse of the Were-Rabbit (2005)

I would never tell you to not watch one of the best-reviewed movies on all of Netflix, Wallace & Gromit: Vengeance Most Fowl. But…if you going to choose just one Wallace & Gromit flick to watch before the end of August, then you’d be a fool not to choose Curse of the Were-Rabbit, another critically acclaimed entry into the series that leaves Netflix at the end of August. In this stop-motion feat of a feature, our favorite kooky inventor Wallace (Peter Sallis) and his silent but sharp-witted beagle Gromit run a humane pest control business called “Anti-Pesto.” With the annual Giant Vegetable Competition approaching in their quiet English village, the town is overrun with hungry rabbits—in particular, a giant beast dubbed the “Were-Rabbit,” who ravages gardens under the cover of night. As Wallace and Gromit investigate this mysterious thief, their paths cross with the cruel, trigger-happy Lord Victor Quartermaine (Ralph Fiennes), who has his own ambitions for the competition and Wallace’s love interest, Lady Tottington (Helena Bonham Carter). This piece of animated genius from the English filmmaker who created the Wallace & Gromit franchise, Nick Park, as well as his co-director Steve Box, perfectly parodies classic monster movies (like Dr. Jekyll and Mr. Hyde and The Wolf Man) with his signature light-hearted humor and garden-obsessed charm.

Melancholia (2011)

If you want a film to challenge your sense of self, your perspective of the perceived world around you, then look no further than Lars von Trier’s Melancholia, a piece of cinema that unflinchingly tackles how we wrestle with depression and emotional collapse. This two-part film dedicates stories to two seemingly polar-opposite sisters: the depressive, defeated Justine (Kirsten Dunst) and the controlling, judgmental Claire (Charlotte Gainsbourg). The story opens on a lavish estate owned by Claire and her husband John (Kiefer Sutherland) for Justine’s wedding day. Despite such an opulent setting, everything is far from peachy as Justine slips deeper into her depression throughout the night, unraveling her relationship, job and emotional stability in a matter of hours. Then the second half of the film shifts focus to Claire as a rogue planet called Melancholia emerges from behind the sun—and could soon end life on Earth as we know it. As Claire becomes increasingly anxious, Justine finds a strange serenity in the face of potential apocalypse, leading to what becomes an operatic observation of humanity; a dreamlike story that uses various styles and tones, from grand cosmic imagery to cinema vérité to symmetrical, painterly compositions, as von Trier confronts both humanity and himself with a single, existential question: how do we keep on living in the face of (whether it’s perceived or real) death and destruction?

Trainwreck (2015)

In the midst of her meteoric rise in the world of comedy, Amy Schumer was given her first major film project alongside one of comedy’s biggest voices, Judd Apatow. Her thriving stand-up career, along with her hit sketch show Inside Amy Schumer, ultimately led to the Rotten Tomatoes hit Trainwreck, in which stars Schumer as Amy Townsend, a magazine writer who was raised by her philandering father to believe that monogamy is unrealistic. That advice carried with Amy into her 30s, as her commitment-free existence is filled with casual sex and heavy drinking. But all of her attitudes are questioned after she’s assigned to write a profile on sports doctor Aaron Conners (Bill Hader), who shatters her vulnerability when it comes to falling in love and forces her to confront her deepest insecurities. Loosely based on her own life and relationships, Schumer wrote the screenplay (this was the first time an Apatow-directed film wasn’t written by him), with characters reflecting real people, including her father’s struggle with multiple sclerosis. Such confessional material comes to life thanks to Apatow’s signature improvisation-driven comedy (up to this point, he had already directed The 40-Year-Old Virgin, Knocked Up and Funny People), which helped certain character performers like LeBron James, Vanessa Bayer and John Cena flourish. Ultimately, this blend of comedy and pathos works like a charm, as Trainwreck uses humor to disarm rather than deflect as it wrestles with themes of arrested development and grief.

The Mule (2018)

There are many people who are fans of Clint Eastwood…up to a point. After a successful 2000s career that saw several award-winning films, such as Million Dollar Baby, Letters from Iwo Jima and Gran Torino, many believe his quality fell off in the subsequent decade. But I’m here to say those people are sleeping on some great 2010s gems, like Richard Jewell, American Sniper and—what might very well be his best film of the 21st century—The Mule. This sparse drama follows Earl Stone (played by Eastwood, who also directed), a elderly veteran of the Korean War who has spent most of his life prioritizing his horticulture work over family. But in a last-resort effort, as a man in his 80s facing foreclosure, estranged from his ex-wife Mary (Dianne Wiest) and daughter Iris (Alison Eastwood), Earl stumbles into a simple-enough job that could save his home: driving packages across state lines. Unbeknownst to him, however, he’s transporting drugs for a Mexican cartel. But, due to his effectiveness, the cartel entrusts him with larger and even more dangerous shipments. All the while, DEA agents Colin Bates (Bradley Cooper) and Treviño (Michael Peña) investigate a mysterious new courier known only as “Tata” (guess who that is?). In classic Eastwood fashion, The Mule is restrained and deliberate, allowing scenes to breathe and unfold with minimal cutting. The core of the film is Earl’s emotional reckoning—with his family, his pride, his wasted time—with Eastwood masterfully inhabiting him as a man both charming and infuriating.

Us (2019)

Nerds everywhere rejoiced when Jordan Peele joined the sci-fi/horror community, as his clearly Twilight Zone-inspired movies (he would eventually produce a reboot of the television series) brought those classic tales of existential and psychological questioning into a modern cinematic format, all while borrowing from incredibly dark comedies like Funny Games and The Shining. In particular, one of his best movies, Us, borrowed heavily from the 1960 Twilight Zone episode “Mirror Image,” which features a woman encountering her double. Peele’s update of that story focuses the Wilson family: Adelaide (Lupita Nyong’o), Gabe (Winston Duke) and their two children, Zora (Shahadi Wright Joseph) and Jason (Evan Alex). Their once-peaceful vacation to Santa Cruz turns into a living nightmare after a group of mysterious strangers, who will come to be known as the “Tethered,” appears outside their rental home. As the Wilsons soon discover, these intruders are exact doubles of themselves: grotesque, violent and—worst of all—hellbent on replacing them. As the night unfolds and chaos spreads across the region, Adelaide is forced to confront buried childhood trauma while trying to protect her family. As with Peele’s other films, like Get Out and Nope, Us is a deeply metaphorical film that must be studied to truly be understood, with the Tethered representing the concept of “the other within ourselves,” and how one deals with concepts like privilege, neglect and moral blindness in everyday life.

Hanna (2011)

When you contemplate the kinetic camerawork, the fairy tale structure, the electronic score, the rhythmic editing of a film like Hanna, the first name that comes to mind isn’t Joe Wright, a director who specializes in period dramas like Atonement, Pride & Prejudice and Anna Karenina. But, if you ask me, Hanna is the territory in which he belongs, as it’s one of the best action films of the 2010s. The film follows the titular character of Hanna (Saoirse Ronan), a teenage girl isolated from the rest of the world in the snowy wilderness of Finland. Trained from childhood to be a lethal assassin by her father Erik Heller (Eric Bana), a former CIA operative, Hanna has been prepared for a single mission: to leave the forest and take down woman who killed her mother, Marissa Wiegler (Cate Blanchett). After her father activates a radio beacon, Hanna is forced to enter the dangerous outside world for the first time, where government agents hunt her as she experiences culture and true freedom for the first time. Wright does a fantastic job at heightening the material through a fairy tale aesthetic, with the snowy wilderness acting as an enchanted forest of sorts, with Marissa filling the wicked stepmother/witch role, and with Hanna acting as both a hunter and child in peril. The true key to the film’s success is Ronan herself, who perfectly balances deadly precision with emotional vulnerability—childlike in curiosity but lethal in execution.

Every Movie Leaving Netflix in August 2025

• August 23: Pope Francis: A Man of His Word (2018)
• August 24: Melancholia (2011)
• August 25: Dungeons & Dragons: Honor Among Thieves (2023)
• August 30: The Hitman’s Bodyguard (2017); The Hitman’s Wife’s Bodyguard (2021)
• August 31: 17 Again (2009); 50 First Dates (2004); After Earth (2013); Airport (1970); Airport 1975 (1974); Airport ’77 (1977); American Gangster (2007); Anchorman: The Legend of Ron Burgundy (2004); Anchorman 2: The Legend Continues (2013); Barbarian (2022); Bee Movie (2007); Black Hawk Down (2001); Blood and Bone (2009); Burn After Reading (2008); Charlie Wilson’s War (2007); Dumb and Dumber To (2014); Flushed Away (2006); Hanna (2011); Home (2015); Legend of the Fist: The Return of Chen Zhen (2010); MacGruber (2010); Midnight in the Switchgrass (2021); Midway (1976); National Security (2003); One Piece Episode of East Blue – Luffy and His Four Crewmates’ Great Adventure (2017); One Piece Episode of Skypiea (2018); One Piece Film: Gold (2016); One Piece: Heart of Gold (2016); Paul (2011); Red Eye (2005); See No Evil, Hear No Evil (1989); Sicario (2015); The Dilemma (2011); The Holiday (2006); The Jerk (1979); The Last Witch Hunter (2015); The Mule (2018); The Notebook (2004); The Nutty Professor (1996); The Polar Express (2004); Trainwreck (2015); Us (2019); V for Vendetta (2006); Vampires (1998); Wallace & Gromit: Curse of the Were-Rabbit (2005)