A new month means a new slew of movies from which to choose on Netflix, and February presents lots of great options. Some of the standouts include a brand new comedy starring Amy Schumer about a gigantic lie that quickly spirals out of control, a hauntingly filmed biopic of one the most storied and troubled members of England’s royal family, and a recent Best Picture winner whose commentary on capitalism only penetrates society further and further as the years carry on. And that only touches the tip of the iceberg, as dozens of other movies will grace Netflix between now and the end of February.

So what are the best movies that have been added thus far? This list aims to highlight the best flicks available to Netflix subscribers in February 2025. Below, I’ve housed my ten picks, along with trailers, plot descriptions of each movie and why you should watch them. Then at the bottom of the article, you’ll find a full breakdown of every single new film coming to Netflix this month. Happy movie watching!

The 10 Best New Movies On Netflix In February 2025

Kinda Pregnant (2025)

Lainy (Amy Schumer) has always been supportive of her best friend’s big life moments—until her friend announces her pregnancy. Overcome with jealousy, Lainy impulsively decides to fake her own pregnancy, complete with a prosthetic baby bump. What starts as a petty scheme quickly spirals into chaos as she finds herself in increasingly ridiculous situations. However, amidst the deception and comedic mishaps, Lainy unexpectedly meets the man of her dreams. Directed by Tyler Spindel and co-written by Schumer, Kinda Pregnant blends sharp humor with heartfelt moments, offering a fresh take on relationships, envy, and self-discovery. Following her Emmy-nominated stand-up special about her real-life pregnancy, Schumer brings her signature wit and no-holds-barred comedy to director Tyler Spindel’s Kinda Pregnant, making Lainy both flawed and endearing. Schumer’s ability to balance physical comedy with insightful social commentary ensures that the film resonates beyond just its humor, offering a playful but insightful look at the pressures women face when it comes to motherhood, relationships and societal expectations.

Spencer (2021)

Over the course of a tense Christmas holiday at the Sandringham Estate, Princess Diana (Kristen Stewart) struggles with her role in the British royal family and the expectations placed upon her. As her marriage to Prince Charles (Jack Farthing) unravels, Diana experiences psychological distress, haunted by past memories and visions of Anne Boleyn. With mounting pressure from the royal institution, she must decide whether to reclaim her independence or continue conforming to tradition. Pablo Larraín’s intimate character study presents a fictionalized yet deeply personal portrait of Diana at a pivotal moment in her life. Directed by Pablo Larraín, Spencer is not a traditional biopic of Princess Diana but rather a psychological portrait of a woman suffocating under the weight of royal expectations. Larraín deliberately avoids the conventional beats of historical dramas—as he’s done in the past with other biopics like Jackie and Maria—instead crafting a surreal, dreamlike narrative that unflinchingly captures Diana’s mental state. The film presents itself as a fable from a true tragedy, immediately signaling it is more concerned with Diana’s internal turmoil than strict historical accuracy.

It (2017)

In the town of Derry, Maine, a group of children known as the Losers’ Club, including Bill Denbrough (Jaeden Martell), Beverly Marsh (Sophia Lillis) and Richie Tozier (Finn Wolfhard), are terrorized by a malevolent entity that manifests as Pennywise the Dancing Clown (Bill Skarsgård). Feeding on fear, Pennywise haunts the children’s worst nightmares and leads them to confront their crippling traumas. As these kids band together to defeat the shapeshifting creature, they uncover the dark history of their town and the cyclical nature of Pennywise’s terror. It is as much a coming-of-age drama as it is a horror film, using childhood fears as a gateway to deeper psychological problems that plague everyone during their youthful years. Pennywise is not just a clown but an ever-shifting embodiment of fear itself, preying on each child’s deepest anxieties. Director Andy Muschietti leans into the supernatural and surreal aspects of Pennywise, using distorted movement, devilish smiles and manic tonal shifts to make him feel truly alien and unpredictable. Pennywise’s ability to manipulate reality, appearing in grotesque and exaggerated ways, mirrors how childhood fears often feel larger than life.

Parasite (2019)

The Kim family—father Ki-taek (Song Kang-ho), mother Chung-sook (Jang Hye-jin), daughter Ki-jung (Park So-dam), and son Ki-woo (Choi Woo-shik)—struggles to make ends meet in a cramped basement apartment. When Ki-woo lands a job tutoring for the wealthy Park family, the Kims devise a plan to infiltrate the household, gradually replacing the staff through deception. However, their scheme takes a dark turn when they discover a hidden secret within the Park residence, leading to a collision of social classes and devastating consequences. With this Best Picture-winning story, Parasite critiques capitalism and class inequality, illustrating how the lower class must fight over scraps while the wealthy remain oblivious to their suffering. In effect, director Bong Joon-ho’s film explores the illusion of social mobility, as the Kim family, despite their cunning and adaptability, can never truly escape their lower status. The Parks’ indifference to the Kims’ struggles highlights the way privilege shields the wealthy from the realities of those beneath them—whether through willful ignorance or sheer detachment.

Two Weeks Notice (2002)

Lucy Kelson (Sandra Bullock), a principled environmental lawyer, takes a job working for George Wade (Hugh Grant), a charming but self-absorbed billionaire real estate developer. While Lucy initially hopes to use her position to advocate for social causes, she soon finds herself functioning as George’s personal assistant rather than his legal counsel. Frustrated with his demands and their co-dependent dynamic, Lucy gives her two weeks’ notice. However, as they prepare to part ways, both begin to realize their deeper feelings for each other. While the plot follows a predictable trajectory for anyone who’s seen a rom-com from the 2000s era, Two Weeks Notice’s success largely hinges on the sheer charisma and impeccable comedic timing of its much-experienced leads. Grant delivers his signature brand of charming, self-deprecating humor, portraying George as an affable yet immature billionaire in need of direction, while Bullock plays Lucy with her signature mix of intelligence, warmth and neurotic energy, creating a dynamic where her frustration with George is as entertaining as their blossoming romance. Together, these two collaborate with director Marc Lawrence for a romantic comedy that has aged beautifully.

The Nice Guys (2016)

Set in 1977 Los Angeles, down-on-his-luck private investigator Holland March (Ryan Gosling) and rough-around-the-edges enforcer Jackson Healy (Russell Crowe) reluctantly team up to investigate the mysterious disappearance of a young woman named Amelia (Margaret Qualley). As their investigation unfolds, they uncover a sprawling conspiracy involving the porn industry, corporate corruption, and a dangerous web of deception. With witty banter, explosive action, and sharp comedic timing, Shane Black’s neo-noir buddy comedy delivers an entertaining and stylish detective story. Directed by Shane Black, The Nice Guys embraces classic noir elements—private investigators, a tangled conspiracy, femme fatales, and a corrupt city—while injecting a modern irreverence that keeps it fresh. Black, known for writing classics like Lethal Weapon and Kiss Kiss Bang Bang (which he directed), thrives on witty, fast-paced dialogue that makes every conversation crackle with humor and tension, with the banter between a washed-up, alcoholic PI (Holland) and a gruff, no-nonsense enforcer (Jackson) entertainingly driving the film’s momentum. Their relationship follows the classic “opposites forced together” formula, but Black effortlessly ensures their relationship evolves naturally, from mutual disdain to reluctant partnership to genuine camaraderie.

Magic Mike XXL (2015)

Three years after leaving the world of male stripping, Mike Lane (Channing Tatum) is drawn back in for one last performance when his former Kings of Tampa crew convinces him to join them on a road trip to a stripper convention in Myrtle Beach. Along the way, the group, including Richie (Joe Manganiello) and Ken (Matt Bomer), reconnects with old friends (which includes incredible performances from Jada Pinkett Smith and Annie MacDowell), faces personal challenges and redefines their artistic ambitions. Magic Mike XXL is a rare sequel that reinvents itself rather than retreading the same story, choosing to fully embrace joy, spectacle and celebration. This film directed by Gregory Jacobs doesn’t dwell on conflict or drama, and instead relishes in a world where things work out, where people find connection, where everyone leaves happier than when they started. Its relaxed, feel-good nature has led to a cult appreciation, with many viewing it as a pure cinematic serotonin boost rather than just a male stripper movie. Each character undergoes their own subtle arc, whether it’s Richie searching for genuine romance or Ken reconnecting with his artistic side, but the film avoids heavy-handed emotional beats in favor of a more natural, easygoing approach—a breath of fresh air in the world of cinema, if you ask me.

Spanglish (2004)

Flor Moreno (Paz Vega), a single mother from Mexico, moves to Los Angeles with her daughter Cristina (Shelbie Bruce) and takes a job as a housekeeper for the Clasky family, led by Deborah (Téa Leoni) and John (Adam Sandler). As Flor navigates cultural clashes and language barriers, she forms an unexpected bond with John while striving to protect her daughter from the pressures of assimilation. A heartfelt exploration of family, identity, and the immigrant experience, Spanglish blends comedy and drama in a touching portrayal of love and resilience. Rather than following a conventional romantic comedy structure, director James L. Brooks crafts a film that is more introspective, focusing on the relationships between characters as they navigate their personal struggles. The story balances humor and drama in a way that feels natural, ensuring that its emotional beats resonate without becoming overly sentimental, and allowing its characters to make mistakes, grow, and exist in a way that feels real. The film resists easy resolutions, instead focusing on the messy, often painful realities of relationships and cultural divides.

The Founder (2016)

Struggling traveling salesman Ray Kroc (Michael Keaton) stumbles upon a small but revolutionary fast-food restaurant in San Bernardino, Calif., run by the McDonald brothers, Richard (Nick Offerman) and Maurice (John Carroll Lynch). Sensing an opportunity, Kroc aggressively expands the brand, ultimately transforming McDonald’s into a global empire. However, his relentless ambition leads to clashes with the brothers, raising questions about ethics, business and the cost of success. Directed by John Lee Hancock, The Founder is a gripping biographical drama that examines the ruthless rise of one of the most iconic fast-food chains in history. Keaton really carries this film from John Lee Hancock, delivering one of his most naturally charismatic performances, portraying Kroc as both an underdog and a shrewd businessman whose hunger for success knows no bounds. He brings a layered complexity to the role, making Kroc both likable and ruthless, allowing us, the audience, to decide whether he is a visionary or an opportunist. Keaton’s approach to the character ensures that even as Kroc’s methods become more aggressive, his sheer determination remains compelling to watch.

Queen & Slim (2019)

After a first date takes an unexpected turn, Slim (Daniel Kaluuya) and Queen (Jodie Turner-Smith) find themselves on the run after a fatal encounter with a police officer. As they travel across the country, evading law enforcement and gaining notoriety as fugitives, they become symbols of resistance in a deeply divided America. Their journey deepens their bond, transforming them from strangers into partners in defiance. Melina Matsoukas’ visually striking and socially charged drama explores love, survival, and the consequences of systemic injustice. Functioning as a sort-of anti-Bonnie & Clyde, the film’s central duo, Kaluuya’s Slim and Turner-Smith’s Queen, begin their journey as near-strangers, with their initial date marked by awkwardness and conflicting worldviews. As they move further from civilization and deeper into fugitive status, their relationship becomes the emotional core of the film, shifting from necessity to genuine love. Unlike the typical “outlaw couple” narrative, the movie doesn’t romanticize their crimes or violence, and instead presents their situation as tragic and unjust, shaped by a system that has already condemned them.

Every New Movie on Netflix in February 2025

• February 1: American Renegades (2017), Cult of Chucky (2017), Fallen (2016), From Prada to Nada (2011), Happy Feet (2006), Happy Feet Two (2011), It (2017), Magic Mike XXL (2015), Parasite (2019), Queen & Slim (2019), Richie Rich (1994), Space Jam (1996), Spanglish (2004), The Nice Guys (2016), The Wedding Planner (2001), Two Weeks Notice (2002), You, Me and Dupree (2006)
• February 2: The Founder (2016)
• February 3: Bogotá: City of the Lost (2024)
• February 6: Sumala (2024)
• February 8: Spencer (2021)
• February 9: Uncle Drew (2018)
• February 10: Aftermath (2024), Rambo (2008), Rambo: Last Blood (2019)
• February 11: Peninsula (2020), The Witcher: Sirens of the Deep (2025), Train to Busan (2016)
• February 12: Death Before the Wedding (2025), Honeymoon Crasher (2025), Rogue Agent (2022)
• February 13: Hello, Love, Again (2024), La Dolce Villa (2025), Trial By Fire (2018)
• February 14: Dhoom Dhaam (2025), Melo Movie (2025), The Most Beautiful Girl in the World (2025), Umjolo: There is No Cure (2025)
• February 16: Don’t Let Go (2019), Gold (2016), Ted 2 (2015)
• February 19: To Catch a Killer (2023)
• February 20: Operation Finale (2018), Uncredited: The Story of Passinho (2025)
• February 25: Really Love (2020), Watcher (2022)
• February 27: Demon City (2025), The Wrong Track (2025)
• February 28: Despicable Me 4 (2024), Sonic the Hedgehog 2 (2022), Squad 36 (2025)