10 Great Movies Leaving Netflix At The End Of March

Anya Taylor-Joy stars in the 2022 horror film ‘The Menu.’

Netflix

Another month gone by means another wave of movies will soon exit the Netflix library. And March will turn out to be a particularly painful month, as dozens of awesome movies will soon be lost to subscribers, including a soundtrack-driven car-chase movie filled with unforgettable action, an unfairly forgotten romance that packs more intimacy and insightful than most of its competition, and a tragic story between father and daughter that many believe to be the best film of the 2020s thus far. These are just three of the many, many great movies you can still catch before the month runs out.

So which films should you watch out for the most? I’m here to help. Below, I’ve compiled a list of ten movies I recommend above all others, along with plot descriptions, trailers and why you should watch each movie. Then at the bottom of the article, you can find a full list of every single film exiting Netflix in March 2025. Hopefully you’ll find your next movie night movie in this bunch. Happy watching!

The 10 Best Movies Leaving Netflix In March 2025

Aftersun (2022)

Few movies from the 2020s have hit me quite as hard as Aftersun, a movie about not only dealing with depression, but being close to somebody dealing with depression. This directorial debut from Charlotte Wells follows 11-year-old Sophie (Frankie Corio) as she vacations with her father, Calum (Paul Mescal), at a Turkish resort in the late 1990s. While Sophie sees a kind and loving dad who’s trying his hardest to make the vacation great, subtle cracks in Calum’s demeanor hint at struggles she doesn’t fully understand until later in life. As the present-day Sophie looks back on camera footage she took during the vacation years later, trying to piece together what she might have missed, memory and reality blur, revealing a deeper, more melancholic truth about their time together. Mescal, who should have won an Oscar for his performance (he was nominated), delivers an understated but deeply affecting performance, portraying a father who is loving, fun and present, yet carrying a quiet, unspoken sadness.

Find a full breakdown of Aftersun’s deeper meaning here.

Mad Max: Fury Road (2015)

It’s crazy to think George Miller’s Mad Max franchise reached the point of Fury Road—a film that owns all the decor and themes of the previous franchise entries, yet amplifies the choreography and energy to gargantuan levels, setting a new standard for action movies with its relentless pacing and jaw-dropping practical effects. For this entry into the director’s post-apocalyptic vision, we enter a wasteland ruled by the tyrannical Immortan Joe (Hugh Keays-Byrne). Our protagonist is, once again, drifter Max Rockatansky (previously played by Mel Gibson, but now inhabited by Tom Hardy), who is captured and forced into servitude as a human blood bag for one of Joe’s warriors. When Imperator Furiosa (Charlize Theron), one of Joe’s most trusted lieutenants, goes rogue and smuggles his enslaved wives to freedom, Max becomes an unlikely ally in a high-speed desert chase. Though Mad Max is in the title, Fury Road belongs to Theron’s Furiosa, a warrior haunted by the past (which is further explored in the fantastic film Furiosa) but driven by hope for a better future.

An Affair to Remember (1957)

Director Leo McCarey was no stranger to romantic comedies, making one of the best ever with The Awful Truth, nor was he shy about making incredibly melancholic films, as was the case with Make Way for Tomorrow. And he found a beautiful combination of those two energies with his most famous and influential film, An Affair to Remember. Our two lovers in this timeless classic are playboy Nickie Ferrante (Cary Grant) and singer Terry McKay (Deborah Kerr), who meet aboard a luxurious ocean liner and feel an undeniable connection—despite both being engaged to other people. As their shipboard romance deepens, they agree that, if they still feel the same way six months later, to reunite at the top of the Empire State Building. However, when fate intervenes in an unexpected way, their reunion is threatened. Grant and Kerr’s on-screen chemistry is some of the best you’ll ever see, filled with lingering glances, playful banter and the kind of restrained passion that makes every moment between them feel charged with undeniable romance.

The Menu (2022)

As a fan of satire, from the likes of masters like Luis Buñuel and Stanley Kubrick, it’s sad to see the art of irony and exaggeration fall by the wayside in Hollywood’s current climate. Sometimes, the most biting and penetrating films are the ones that poke fun at society’s absurdities—a dynamic that Mark Mylod fully understood with The Menu. The story centers on a group of wealthy diners who arrive on a remote island for an exclusive culinary experience at the highly prestigious restaurant Hawthorn, run by the revered Chef Julian Slowik (Ralph Fiennes). Among them is Margot (Anya Taylor-Joy), the date of Tyler (Nicholas Hoult) and a last-minute guest who quickly senses something unsettling about the event. As the evening unfolds, it becomes clear this is no ordinary meal, and the guests are trapped in a sinister spectacle. The Menu beautifully deconstructs the way food has been elevated to something exclusive and inaccessible, where artifice replaces passion and indulgence becomes a form of self-congratulation, ultimately serving as a commentary on arbitrary class politics.

Godzilla vs. Kong (2021)

In the early days of Adam Wingard’s filmmaking career, I was so excited for whatever would follow his fantastic debut features, which included the smart meta horror film You’re Next and suspense-filled thriller The Guest. Little did I expect he would eventually graduate to multi-million-dollar blockbusters like Godzilla vs. Kong. The film starts with a group of scientists that embark on a mission to uncover the origins of these ancient creatures, leading them to transport the mighty Kong from Skull Island. However, their journey is disrupted when Godzilla emerges, seemingly unprovoked, and launches a devastating attack. As a result, these two legendary monsters are soon set on a collision course, with Kong’s protectors and a young girl who shares a special bond with him caught in the middle. The film doesn’t just deliver one climactic battle, but offers multiple breathtaking set pieces. In particular, the ocean battle, with Kong chained to an aircraft carrier as Godzilla attacks from the depths, is a masterclass in tension, staging and environment-building rarely seen in modern blockbuster cinema.

Molly’s Game (2016)

By 2016, Aaron Sorkin no longer needed to defend his credentials. As the writer of classic films like A Few Good Men and The Social Network, as well as the creator of TV shows like The West Wing, he was practically considered Hollywood royalty after 30 years in the business. But, at that point, he had yet to direct a feature film—that was until Molly’s Game. The plot revolves around Molly Bloom (Jessica Chastain), who rises from Olympic hopeful to the mastermind behind one of the most exclusive high-stakes underground poker games in the world. Running tables frequented by Hollywood elites, Wall Street moguls and Russian oligarchs, Molly builds an empire—that is until the FBI arrests her for illegal gambling operations. As she fights to clear her name, she turns to lawyer Charlie Jaffey (Idris Elba) for help, revealing the battles and betrayals that defined her career. Soon-to-be-Oscar-winner Chastain delivers a powerhouse performance, embodying Molly’s intelligence, confidence and vulnerability with expert thespian precision. She carries the film with effortless control, turning Molly into a fully realized character who is as fiercely independent as she is deeply flawed.

Rush Hour Trilogy (1998-2007)

Going to the movie theater was one of my favorite childhood pasttimes. My family and I would always go see the new Adam Sandler movies, as well as many of the summer blockbusters that defined the late 1990s and early 2000s, like The Matrix and The Lord of the Rings. And one of the most essential franchises for those memories was the Rush Hour trilogy. This classic comedy follows the unlikely partnership between Hong Kong detective Inspector Lee (Jackie Chan) and fast-talking LAPD detective James Carter (Chris Tucker)—two cops with wildly different personalities and approaches to the job. Their friendship evolves from reluctant teamwork to genuine camaraderie throughout, with each mission taking them to new locations—from Los Angeles to Hong Kong to Paris—as they battle international crime. Unlike many action films of the late 1990s and early 2000s, Rush Hour hasn’t aged one bit. The jokes still land, the action remains thrilling and the electric on-screen chemistry between Chan and Tucker remains some of the best ever.

Baby Driver (2017)

Film nerds everywhere rejoice whenever Edgar Wright—the auteur mind behind comedy classics like Shaun of the Dead, Hot Fuzz and The World’s End, as well as Scott Pilgrim vs. the World—makes a new film. And back in 2017, Baby Driver marked his most thrilling departure yet—a high-octane car-chase movie driven almost entirely by its killer soundtrack. The story centers on Baby (Ansel Elgort), a young getaway driver with an innate talent for high-speed escapes who relies on carefully curated music to drown out his tinnitus and stay focused behind the wheel. Forced to work for crime boss Doc (Kevin Spacey), Baby dreams of leaving his dangerous life behind when he falls for diner waitress Debora (Lily James). However, his plans to go straight are threatened when his final heist spirals out of control, pulling him into a deadly game of survival against ruthless criminals—including the unhinged Bats (Jamie Foxx) and the wild coupling of Buddy (Jon Hamm) and Darling (Eiza González). From the opening getaway scene timed perfectly to “Bellbottoms” by The Jon Spencer Blues Explosion to a foot chase set to “Hocus Pocus” by Focus, the film constantly transforms action into musical/cinematic art form.

Interstellar (2014)

Christopher Nolan might direct larger-than-life pictures, but he’s also always strived to remain loyal to “the truth.” Many times that means realistic practical effects, such as the hospital explosion in The Dark Knight, but often it means remaining truthful to history, as we saw with Oppenheimer, and science, as was the case with the intergalactic adventure Interstellar. In a future where Earth is slowly becoming uninhabitable, former NASA pilot Cooper (Matthew McConaughey) is recruited for a last-ditch mission to save humanity. Alongside a team of scientists, including Brand (Anne Hathaway), he ventures through a wormhole near Saturn in search of a new home for mankind. As they explore distant planets, facing extreme conditions and time dilation, Cooper struggles with the weight of leaving behind his daughter, Murphy (Mackenzie Foy/Jessica Chastain), whose life continues to unfold across decades back on Earth. Working closely with theoretical physicist Kip Thorne, Nolan ensures that Interstellar remains scientifically grounded while still pushing the limits of cinematic imagination. The film’s depiction of space is not just visually stunning—it’s also one of the most accurate portrayals of astrophysics ever put on screen.

Rust and Bone (2012)

Director Jacques Audiard got lots of recognition at this year’s Academy Awards for Emilia Pérez, but couldn’t quite muster as much love for an earlier film that was much more invigorating. In what now feels like a forgotten romance, Rust and Bone represents how hauntingly vulnerable and unflinchingly tragic romantic films can truly be. Adapted loosely from a collection of short stories by Craig Davidson, the film follows the intense and unlikely relationship between Ali (Matthias Schoenaerts), a drifting, often reckless man struggling to provide for his young son, and Stéphanie (Marion Cotillard), a killer whale trainer whose life is forever changed by a devastating accident. As their relationship deepens, they form a raw and unconventional bond, and together they navigate personal demons, physical rehabilitation and the brutal reality of Ali’s street fighting career. Rust and Bone avoids typical romance tropes, instead portraying love as something raw, physical and deeply flawed, with the relationship between Ali and Stéphanie built not on the kind of attraction we traditionally see in Hollywood movies but on mutual survival.

Every Movie Leaving Netflix In March 2025

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

• March 15: A Walk Among the Tombstones (2014)
• March 16: Sun of the Soil (2020)
• March 17: Deadly Illusions (2021); Skylines (2020)
• March 20: Aftersun (2022)
• March 22: Layla M. (2016); The Machine (2023)
• March 24: No Escape (2015)
• March 29: Godzilla vs. Kong (2021); Mad Max: Fury Road (2015)
• March 31: An Affair to Remember (1957); Baby Driver (2017); Boyz n the Hood (1991); Bruce Almighty (2003); Captain Nova (2021); Death Can Wait (2020); Dr. Seuss’ The Cat in the Hat (2003); Dr. Seuss’ The Lorax (2012); Elysium(2013); Faster (2010); Happy Feet (2006); Happy Feet Two (2010); How to Train Your Dragon (2010); How to Train Your Dragon 2 (2014); Interstellar (2014); It (2017); Legion (2010); Little Man (2006); Love Actually (2003); Miss Congeniality (2000); Molly’s Game (2017); Richie Rich (1994); Robin Hood (2018); Rush Hour (1998); Rush Hour 2 (2001); Rush Hour 3 (2007); Rust and Bone (2012); Sethum Aayiram Pon (2020); Sex Tape (2014); Space Jam (1996); The Age of Adaline (2015); The Karate Kid (1984); The Karate Kid Part II (1986); The Karate Kid Part III (1989); The Menu (2022); The Nice Guys (2016); The Scorpion King (2002); The Sting (1973); Tony Parker: The Final Shot (2020); Twins (1988); When in Rome (2010)

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