Stream These 10 Titles Before They Leave Netflix This Month

Oscar loves movies about the movies, and this 2011 comedy from the writer and director Michel Hazanavicius (which won five prizes, including best picture) isn’t just a film about the industry: It is steeped in stylistic and narrative influences from throughout film history . Hazanavicius tells his story of the bumpy transition from silent to sound cinema by dramatizing that transition, recalling the inside-Hollywood angle of “Singin’ in the Rain”; the secondary story, about a fading star’s romance with a rising talent, evokes the many remakes of “A Star is Born.” Yet “The Artist” isn’t just a game of “spot the homage.” The filmmaking is clever and the performances are inspired, particularly those of the best actor winner Jean Dujardin, of the best supporting actress nominee Bérénice Bejo and of John Goodman, cast perfectly as a cigar-chomping studio head.

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Fresh off the success of his script for the original “Scream,” the screenwriter Kevin Williamson got the greenlight from the nascent WB network to create this long-running drama, chronicling the lives of loves of a group of teens in the fictional hamlet of Capeside , Mass. Williamson’s winkingly self-aware style doesn’t go down quite as smoothly here as it does in the “Scream” films, but it offers its own trashy pleasures, its scripts rife with romances and hookups and unrequited crushes. And the show is now noteworthy for its keen casting eye: Katie Holmes, Joshua Jackson, James Van Der Beek and Michelle Williams make up the core ensemble, with Scott Foley, Jane Lynch, Busy Philipps and Seth Rogen among the recurring cast.

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Natalie Portman made her film debut in this 1994 action picture from the French writer and director Luc Besson (“La Femme Nikita”), playing a young woman whose family is executed by corrupt DEA agents. She talks her her enigmatic neighbor (Jean Reno) into providing not only refuge but also training; he is a contract killer, and she wants revenge. Besson stages a series of spectacular set pieces, each more ingenious than the last, culminating in a barn burner in which Leon seems to take on the entire New York Police Department. Portman is already a movie star, and Reno is quietly effective — an excellent counterpoint to Gary Oldman, who chews scenery by the fistful as the most unhinged of the bad guys.

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This 2006 action film from David R. Ellis was one of the first films that was, in effect, rewritten by the internet. Based solely on its title and the presence of Samuel L. Jackson, the movie became something of a viral sensation before its release, prompting its filmmakers to reshoot scenes and rework the tone to mirror more closely the goofy B-movie its “fans” had come to expect The result is a bit of a mess, particularly in its laborious first act. But once the snakes start to attack at the 30-minute mark, it’s goofy, gory fun, a spirited riff on ’70s disaster movies, with an abundance of thick but funny shock effects and an admirably game performance from the unflappable Jackson.

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The director Guy Ritchie made a big splash on the indie circuit with his low-budget, high-energy crime comedy “Lock, Stock and Two Smoking Barrels” in 1999; this successor was also a kind of bigger-budget remake, pursuing similar situations and aesthetics but with more resources and bigger names. Chief among the big name actors is Brad Pitt, who appears under a mop of messy hair and barks most of his dialogue in an indecipherable dialect — hinting at the character-actor work he pursued, as a sideline, as he approached middle age. “Snatch” is fast, funny and flashy; it is style over substance, sure, but what style.

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