You know how new DVDs and Blu-rays always come out on a Monday? Netflix laughs in the face of such regimented scheduling and instead releases all of its new TV shows and movies whenever the heck it feels like it.
That can make keeping track of all of the new stuff a first-world nightmare of epic proportions.
But help is at hand: here we highlight all of the best new stuff on Netflix. And yes, that does mean we've left out all of the rubbish, so you won't find the likes of Frontier or Sharknado: The 4th Awakens here.
Instead, allow us to guide you, truffle pig-like, to the finest and freshest streaming fungus.
Note: the newest stuff is at the top of the list, with the shows and movies getting progressively less new as you scroll down and switch pages
Also known as the movie Edgar Wright walked out on before he made this summer's stellar Baby Driver, Ant-Man is a fun but forgettable superhero romp that'll happily pass a few spare hours.
Starring Paul Rudd in his first proper action flick, this movie works best when firing off quick-fire gags between explosions. And there's a good bit with a giant Thomas The Tank Engine. Proof that the Hot Fuzz director's fingerprints never quite left this flick.
As a sport in which a 70-year-old woman once gave birth to a human hand, wrestling isn’t exactly known for its nuanced storytelling. Thankfully, Glow isn’t really about wrestling at all, but a gang of kickass women rallying against their demons and the dudes who’d rather keep them down.
Featuring a stellar lead turn by Alison Brie, this is Netflix's best original series since Stranger Things. Even if you've no idea of the difference between a duplex and a powerbomb.
Based on the true story of two Czechoslovakian agents dropped into their occupied homeland to assassinate the ruthless high-ranking Nazi Reinhard Heydrich, Anthropoid’s strict adherence to facts renders it a touch unbalanced – the best scenes occur around the halfway point, which leaves everything afterwards feeling a bit deflated.
That said, the filmmakers’ keen eye for period detail and a strong cast (including Cillian Murphy, Toby Jones and Jamie “Christian Grey” Dornan) make it a diverting thriller for fans of World War 2 dramas – even those history buff who already know how the story’s going to end.
Before Shame and 12 Years A Slave, director/actor partnership Steve McQueen and Michael Fassbender burst onto the scene with this gut-wrenching tale of Irish republican Bobby Sands, who led the 1981 IRA hunger strike at Belfast’s Maze Prison in an attempt to gain political prisoner status.
Fassbender went on a crash diet in order to better portray Sands in the final stages of the strike – a fact which suggests you should not approach this film expecting lightweight fare.
The Breakfast Club
The Breakfast Club should be the worst film ever made: five of the most broad-brush-stereotyped high school kids get put in the same detention. They’re all radically different. But they find common ground. Puke.
And yet it's more than a mush of obvious heartstring-tugging, rite-of-passage nonsense. Or, if it is, The Breakfast Club did it before it was a mechanical format trick pulled from the script template drawer for Hollywood high school flicks. That is to say this movie defined – if not invented – the teen genre as a journey of discovery. No Breakfast Club, no Dead Poet’s Society. No Superbad. You get the picture.
Yes, it’s dated, corny and the hairstyles are reason enough to pull all research grants for time travel. But The Breakfast Club is a bona fide gem that spawned a million imitators. And the original is still the best.
Archer season 7
A James Bond-esque secret agent with the womanising, drinking and love of casual violence turned right up to 11, Archer is one of the greatest anti-heroes we’ve seen in an animated show. He's in good company at private spy agency ISIS (in hindsight, an unfortunate choice of name - and one that was eventually changed by the showmakers) staffed as it is with a collection of selfish, bungling agents and perverts.
Perfect for Netflix binge-watching, thanks to its 20-minute episodes, it's generously packed with snappy one-liners and Arrested Development-esque in-jokes. It’s just as good as it sounds. And even if you've blitzed through the first six seasons, there's fresh grist for the mill in the form of the newly-added seventh. Fill your boots.
Easy viewing, this isn’t. At over three hours, Schindler’s List demands an investment of time, but Steven Spielberg’s tale of a German industrialist who transforms from war profiteer into humanitarian also demands your full attention from the outset. Impeccably acted, shot and directed, it’s a beautiful piece of filmmaking about humanity’s ugliest episode, the Holocaust.
Even if it ends on a note of positivity, it’s an incredibly bleak film by the standards of the usually upbeat Spielberg, presenting an unflinching view of Poland under Nazi occupation, of the liquidation of the Krakow ghetto and life and death in Auschwitz, all rendered in timeless monochrome.
Reservoir Dogs may have put Quentin Tarantino on the map, but it was Pulp Fiction that cemented him as the enfant terrible of 1990s cinema, as well as inspiring an entire generation of imitators – none of which came close, we might add.
What is Pulp Fiction? On the face of it, a trio of interweaving stories set in the Los Angeles criminal underworld, which is in itself a pretty interesting, novel way to structure a movie. But it’s the film’s style, its snappy dialogue, its music, its depictions of violence and drugs, and its dance sequences that truly make it something special.
Tarantino has yet to make a better film than Pulp Fiction. And judging by his recent efforts, enjoyable as they are, he never will. It manages to feel both fresh and classic at the same time, both a tribute to cinema and a mould-breaking, pioneering piece of filmmaking. If we had to pick a movie that best sums up cinema in the 1990s, it’s tough to think of a better bet.
A $50 million film fully funded and distributed by Netflix, Okja was booed by cinematic purists at the beginning of its Cannes Film Festival premiere – only to receive a four-minute standing ovation at the end of said premiere.
We’re not sure it’s stupendous enough to warrant 240 continuous seconds of applause – it takes a lot to get us up off the sofa at the end of a movie, to be honest – but this tale of a giant genetically-modified pig, her devoted tween companion, big business and animal rights is something of a delight, benefitting from a fine cast (Jake Gyllenhaal, Tilda Swinton and Paul Dano among them), brisk narrative pace and the fantastic visual effects that bring Okja herself convincingly to life.
If this is a sign of the future of filmmaking, the medium has little to fear.