The best movies streaming at the end of November

We’re approaching the end of another month, and that means quite a few great movies are leaving their current streaming services. Thanks to America’s Thanksgiving holiday, you’ll likely have some extra free time at the end of November, so we’ve rounded up some of the best movies to catch up on before they disappear.

This month’s selections include a horror sequel that’s way better than it has any right to be, a biopic to satisfy the boxing jitters you definitely couldn’t get anywhere else this month, a thriller full of questions about AI, and one of the best bank robbery movies of all time.

Here are the best movies streaming in late November.

Editor’s Choice: Doctor Sleep: Director’s Cut

Director: Mike Flanagan
Stars: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran
To leave Prime Video: November 31

The radiant has a very complicated history. Both Stephen King’s original novel and Stanley Kubrick’s film adaptation are absolute horror classics, but the relationship between the two is somewhat adversarial, thanks in part to the fact that King absolutely hated Kubrick’s film for years. So the fact that director Mike Flanagan managed to bridge the gap between the book version of the story and the film version with his film Doctor sleep is remarkable. But the fact that he also managed to make a great film in it is a small miracle.

Doctor Sleep: Director’s Cutthe only version of the film worth watching follows Danny Torrance (Ewan McGregor), the young hero from the original story, years after his ordeal at the Overlook Hotel. Danny has lost touch with his ability to shine, he is battling the same disease of alcoholism that his father battled, and he generally feels adrift in his life and numbs himself to everything around him just to avoid the scars to avoid from his youth. But when a group of vampires who feed on radiant children begin threatening a young girl (Kyliegh Curran), Danny must confront the ghosts of his past.

What really makes the film sing is McGregor’s absolutely incredible performance as Danny, who delivers some of the best work of his career, juxtaposing Danny’s struggle to move on with his life alongside his drive to save someone he can’t do anything else with than to be in a relationship. Meanwhile, Flanagan’s direction is excellent, evoking bits and pieces of Kubrick’s original masterpiece without ever lowering itself to cheap imitation, until facsimile becomes a necessary tool. All of this makes for an excellent film that not only manages to stand alongside its predecessors, but makes them both stronger by its very existence. —Austen Goslin

Director: Michael Mann
Stars: Will Smith, Jamie Foxx, Jon Voight
Leave Netflix: November 31

Based on the ratingschances are you’ve seen a boxing event in the past week. And chances are, watching it leaves you at least a little disappointed and maybe even feeling a little cheated. That wasn’t the case, it was just good marketing, but I certainly understand the feeling. But no matter how you felt, there’s probably a boxing glove-shaped hole in your heart right now that needs to be filled. Luckily, Michael Mann and Will Smith are here to help with their 2001 collaboration Alia biopic about boxing legend Muhammad Ali.

Ali is absolutely everything boxing should be: brutal, intimate, smart and at the same time both deeply physical and human and something bigger. The film is a gigantic portrait of a person who was larger than life, a boxer, a champion, an activist, an icon and a person who could not possibly be contained by just the four corners of the ring or by a single film . . Instead, Mann uses every editorial and formal trick in the book to create something bigger and more ambitious than a traditional biopic. And yes, as with all boxing, Ali is technically mostly marketing, but it is marketing in the service of the myth-making of one of the most interesting and important figures of the 20th century. So if you’re feeling a little burned and want to see what boxing really can and should be, both inside and outside the ring, look no further than Ali. —AG

Movies leaving Prime Video

Director: Alex Garland
Stars: Alicia Vikander, Domhnall Gleeson, Oscar Isaac
To leave Prime Video: November 31

In the cinematic canon of “insufferable tech bros who turn out to be latent sociopaths,” Oscar plays Isaac Nathan in Alex Garland’s 2014 sci-fi thriller Ex Machina certainly belongs to the top. Nathan, the reclusive CEO of Blue Book, a fictional search engine conglomerate that is essentially the film’s stand-in for Google, is the catalyst for much of the horror that plays out over the film’s running time. After inviting Caleb (Domhnall Gleeson), one of his employees, to visit him at his remote estate to participate in an experiment, Nathan initially comes across as an unassuming, if ambitious, thought leader who treats Caleb might pay a colleague with the kind of reverent respect one has come to expect. Only later does it become clear how much contempt Nathan has, not just for Caleb, but for the human species as a whole. —Toussaint Egan

Films Leaving Criterion Channel

Director: Sidney Lumet
Stars: Al Pacino, John Cazale, Penelope Allen
Exit criterion channel: November 31

Dog Day afternoonor as I like to call it, “Sonny Wortzik and the Terrible, Horrible, No Good, Very Bad Bank Robbery,” is one of the most highly regarded films of legendary director Sidney Lumet’s storied career. Considering that career also included such venerable classics as 12 angry men And Network – which, together with Dog Day Afternoon, were inducted into the Library of Congress’ National Film Registry – that’s really saying something.

Based on the true story of John Wojtowicz and Salvatore Naturile, Lumet’s film stars Al Pacino as Sonny Wortzik, a first-time thief who, with the help of his friends Sal Naturile (John Cazale) and Stevie (Gary Springer), attempts to take over the First Brooklyn To rob Savings Bank. As you can probably guess, the situation doesn’t go quite as anyone would expect, resulting in Stevie losing his nerve and Sonny and Sal having to navigate a tense hostage situation against an army of police officers gathered around the building. Dog Day afternoon is a great and iconic film that tapped directly into the zeitgeist of 1970s American culture and depicted the uncomfortable connection between financial desperation, the attention economy of television news, and the social plight of the LGBTQ community. —AT