Christopher Nolan‘s latest epic, The Odyssey, sailed forth on its journey to the $1 billion mark last weekend with another stellar theatrical showing. In domestic earnings alone, the film earned almost $100 million from 3,942 theaters and has already made $639 million worldwide. As The Odyssey soars to higher heights, another movie made cinema history this weekend. Woody (Tom Hanks), Buzz (Tim Allen), Jessie (Joan Cusack), and the rest of the Toy Story 5 gang have now become the third film of the year to hit $1 billion at the global box office. But beyond the box office, another exciting week of streaming awaits. With that in mind, here’s a list of three movies you should stream on Netflix this week.
Disclaimer: These titles are available on US Netflix.
1
‘Tár’ (2022)
Rotten Tomatoes: 91% | IMDb: 7.4/10
This week on Netflix, don’t miss out on one of the most impressive movies of the past five years. Directed by Todd Field, who was previously nominated for Academy Awards in 2001 and 2006, Tár stars Cate Blanchett as Lydia Tár, one of the greatest living composer-conductors, who is also the first female director of a major German orchestra.
A psychological drama of epic musical proportions, Tár stands tall as not just a soaring symphony of female power but as the canvas on which Blanchett painted perhaps her greatest performance. As the titular Tár, Blanchett fully immerses herself, even learning to speak German, play the piano, and conduct an orchestra for the role. The film was even nominated for an impressive six Academy Awards.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
2
‘Ordinary Angels’ (2024)
Rotten Tomatoes: 84% | IMDb: 7.4/10
We’re now just a couple of weeks away from the kick-ass return of the hit Prime Video series Reacher, and Netflix currently hosts an unusual yet perfect way to get in the mood. 2024’s Ordinary Angels stars Alan Ritchson in one of his most unexpected performances as Ed Schmitt, a widowed father with a critically ill daughter who is helped by his community during troubled times.
A powerful, emotionally resonant tale that also features a superb performance from Oscar winner Hilary Swank, prepare to laugh and cry with this sharp, smart, and tear-jerking tale. Directed by House of David’s Jon Gunn, the film is made all the more captivating when learning it is based on true events that took place in the mid-1990s.
3
‘Wind River’ (2017)
Rotten Tomatoes: 87% | IMDb: 7.7/10
The star of Taylor Sheridan‘s Mayor of Kingstown and an MCU favorite as Hawkeye, Jeremy Renner has been a pivotal part of many celebrated projects. One of his more underrated performances came as seasoned game tracker Cory Lambert in Wind River, the aforementioned Sheridan’s 2017 neo-Western movie.
Also featuring two other MCU alums in Elizabeth Olsen and Jon Bernthal, Wind River follows Renner’s Cory as he partners with inexperienced FBI Agent Jane Banner (Olsen) to solve the murder of a young woman on an American Indian reservation in Wyoming. A gritty, intelligent story reportedly made to raise awareness of the brutal treatment of Indigenous women both on and off reservations, don’t miss out on Wind River this week.
