​The 5 Best Movies on Netflix (November 2017) - Part 4

The best movies on Netflix right now are not always the easiest to find. Rather than spending your time scrolling through categories, trying to track down the perfect film to watch, we’ve done our best to make it easy for you at USCardCode.com where sell Netflix Card Code by updating our Best Movies to watch on Netflix list each month with new additions and overlooked gems alike.

Here are the top 5 movies streaming on Netflix in November 2017:

The Invitation

The Invitation, that involves a tale of deep and intimate heartache, the kind that none of us hopes to ever have to endure in our own lives. The film taps into a nightmare vein of real-life dread, of loss so profound and pervasive that it fundamentally changes who you are as a human being. That’s where we begin: with an examination of grief. Where we end is obviously best left unsaid, but The Invitation is remarkable neither for its ending nor for the direction we take to arrive at its ending.

Heaven Knows What

Heaven Knows What as Holmes, who matches up well with Jones, the film’s most notable professional actor. Cinema lets us engage with difficult subject matter through a veneer of security. But something like Heaven Knows What pierces that veil. By its very nature, it pushes the boundaries of our personal comfort. It’s clear we need more films like that

The Meyerowitz Stories (New and Selected)

Family patriarch Harold Meyerowitz (Dustin Hoffman), a sculptor seeking acknowledgement in his old age, shuffles dopily down New York’s streets; Matt Meyerowitz (Ben Stiller) possesses the grace of a well-used corporate gym membership; Danny Meyerowitz (Adam Sandler, deserving of an Oscar) hobbles around denying that he’s got a major medical problem; and Jean Meyerowitz (Elizabeth Marvel) just seems like she shouldn’t be running, Matt and Danny at one point consorting about how they’ve never actually seen her run before. In these moments, Baumbach allows the cerebral to awkwardly take on corporeal life, wondering aloud how the many themes and ideas we conceptualize (and thus internalize) break free in some sort of physical melee

Coraline

An unhappy little girl discovers an alternate reality that seems to offer all the magic and wonder her real home lacks, only to discover the sinister implications behind the candy-colored exteriors. Gaiman’s inventive approach to fairy-tale rules matches Selick’s luminescent colors and blend of everyday emotions and dream-like wonders.

Phoenix

Nobody knows anyone. The insoluble mystery of “other people” is the subject of plenty of films, but rarely in recent memory has the insoluble mystery of other people been so potent a driving force as it is in Phoenix. In it, Nelly (Petzold regular Nina Hoss), a Jewish singer, is a survivor from the Nazis’ concentration camps, her heavily bandaged face a visible sign of the untold horrors she’s witnessed. Reunited with her friend Lene (Nina Kunzendorf), Nelly requires reconstructive surgery, deciding that rather than remaking her face, she wants to look the way she did before the war. But the rehabilitation doesn’t end there: Nelly is on the lookout for her husband, a piano player named Johnny (Ronald Zehrfeld). Lene is convinced that Johnny, who isn’t Jewish, ratted Nelly out to the Nazis, an accusation Nelly doesn’t want to believe. When she does find him, he (like the bombed-out Berlin) seems mostly concerned with picking up the pieces and putting some distance between himself and the past.