Seven Movies to Watch Before They Leave Netflix in March

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Seven Movies to Watch Before They Leave Netflix in March

There are plenty of great new movies and TV shows coming to Netflix in March. But there’s always a trade off, and the streaming giant will also be removing several gems. We’ve put together a list of the seven best movies leaving Netflix in March below. You can also check out The 100 Best Movies on Netflix right now.

1. Jaws

jaws poster (Custom).jpeg
Year: 1975
Director: Steven Spielberg
Leaving Netflix: March 1
Is Jaws a horror film? For those who worry that it’s “not safe to go back in the water,” then most certainly it is. But regardless of how you’d classify it, there’s no denying that Jaws is anything but brilliant, one of Spielberg’s great populist triumphs, alongside the likes of Jurassic Park and E.T., but leaner and less polished-looking than either, which works in its favor. Much has been made over the years of how Jaws as a film really benefits from the technical issues that plagued its making—the story originally called for more scenes featuring the mechanical shark “Bruce,” but the constantly malfunctioning animatronic forced the director to cut back, which ended up maximizing each appearance’s impact. The first time that Roy Scheider sees the literal “jaws” of the beast while absentmindedly throwing chum into the water is one of the great, scream-inducing moments in cinema history, and it’s a shock that has literally never been matched in any other shark movie since … likewise with the death of Quint, whose mad scramble to avoid those gnashing teeth is the kind of thing that created its very own sub-genre of children’s nightmares. Ultimately, Jaws is made into a great film via memorable characters, but it’s made into a scary film by novelty and perfect execution. —Jim Vorel

2. Memento

Year: 2000
Director: Christopher Nolan
Leaving Netflix: March 1
During a brutal attack in which he believes his wife was raped and murdered, insurance-fraud investigator Leonard Shelby (played with unequivocal intensity, frustration and panic by Guy Pearce) suffers head trauma so severe it leads to his inability to retain new memories for more than a few minutes. This device allows Nolan to brilliantly deconstruct traditional cinematic storytelling, toggling between chronological black-and-white vignettes and full-color five-minute segments that unfold in reverse order while Pearce frantically searches for his wife’s killer. The film is jarring, inventive and adventurous, and the payoff is every bit worth the mind-bending descent into madness. —Steve LaBate

3. The Panic in Needle Park

Year: 1971
Director: Jerry Schatzberg
Leaving Netflix: March 1
Want to know what it was like for Lou Reed to score drugs in New York? Then this is your film. Al Pacino stars as a junkie who drags his girlfriend (Kitty Winn) into the life. It sounds like a downer, and it definitely can be, but Pacino’s energy keeps the film buoyant and interesting. New York in the late ‘60s and ‘70s represents a paradox in American history—a hotbed of revolutionary art, but also a stunning symbol of American desperation and decline. Few films capture what it was like to be young and rudderless in the Big Apple like Panic in Needle Park. —Shane Ryan

4. Victoria

Year: 2014
Director: Sebastian Schipper
Leaving Netflix: March 8
An experiment, a lark, an invitation to think about the very mechanics of how we process movies—Victoria may not, much like its main characters and their bank-heist scheme, get away clean with its audacious stunt. But at a time when it’s hard to give audiences a genuinely unique viewing experience, this one-take German drama-thriller stands apart. Where other movies like Rope or Birdman artfully hid their cuts to give the illusion that their stories were happening in real time, director and co-writer Sebastian Schipper’s fourth feature works without a net, its two-hour-plus journey through the early morning hours of Berlin growing increasingly more suspenseful, his camera capturing every moment. There’s no denying Victoria’s technical achievement. It’s not simply that Schipper executes a single-take film, it’s that he navigates between disparate genres and locations to create a coherent, gripping drama with a rollicking confidence. One never quite forgets the gimmick tying the film together, but then again, Victoria derives part of its pleasure from the acknowledgement of the strings being pulled. But if Victoria works best as a playful intellectual and technical exercise, the movie also delivers plenty of the old-fashioned pleasures in performance and suspense. Laia Costa is understated in her portrayal of a young woman innocently out for the night who discovers something untapped within herself by the time the sun comes up the next day. Though Victoria is destined to be remembered for Schipper’s nerve, his titular star supplies the film with its heart and guts. —Tim Grierson

5. Zootopia

Year: 2016
Directors: Byron Howard, Rich Moore, Jared Bush
Leaving Netflix: March 20
It says a lot about the state of America’s cultural dialogues on acceptance and discrimination that a Disney movie feels this urgent, but maybe a movie about animals living under the impression of harmony is a long-term solution for our short-term failures. Then again, we’re talking about a cartoon where TV’s Snow White teams up with Michael Bluth in a sort-of riff on 48 Hours that expands to include references to The Godfather and Breaking Bad. Zootopia is smart in the way it approaches race relations, if unsophisticated and childish. But there are worse things a children’s movie can be than childish, and in Zootopia that word sheds its pejorative implications and instead feels befitting in its innocence. The story takes place in the sprawling zoological metropolis of the title, a place where beasts of all makes and models—large and small, meek and ferocious—somehow manage to coexist in an approximation of civilized society. This is a movie that’s all about big, heartfelt honesty between its principals and its audience. Simple though its politics may be, the film is effective—and coming from a mainstream studio, it is even just daring enough to make a difference. —A.C.

6. Who Framed Roger Rabbit

Year: 1988
Director: Robert Zemeckis
Leaving Netflix: March 24
Bob Hoskyns is a P.I. charged with exonerating the titular Mr. Rabbit in a noir send-up to old-school animation. The 1940s world of Toontown is a place where toons and people intermingle, and Kathleen Turner voices Roger’s bombshell girlfriend Jessica Rabbit. This imaginative mix of live action and animation remains an original a quarter-century later. —Josh Jackson

7. The Life Aquatic with Steve Zissou

Year: 2004
Director: Wes Anderson
Leaving Netflix: March 26
A once-famous oceanographer and explorer, Steve Zissou (Bill Murray) now can barely bother. He feels things quietly, but deeply. And throughout The Life Aquatic with Steve Zissou, Murray plays the sad wash-up as he has so many roles in this late phase of his career, like a classic Pixies song: Zissou possesses a chilly, utterly subdued state of being towards the insanity around him, until his frustrations burst to the surface with a brilliantly cutting line like, “Son of a bitch, I am sick of these dolphins.” Murray’s enigmatic preference for keeping his characters’ emotions close to their chests provides ample contrast between sardonic humor and something sincerer, even during big action sequences, like when the Zissou team rescues Jeff Goldblum’s Allistair Hennessey (“Steven, are you rescuing me?” Murray’s response, a pained half-smile and barely-there head cock, is deadpan brilliance). It’s arguable Anderson helped Murray initially make that marked 180 from his constantly talking, wisecracking comedic personas in classics like Ghostbusters or Caddyshack, and, in my humble opinion, The Life Aquatic is undoubtedly the most fruitful of his and Anderson’s collaborations. —Greg Smith

Netflix will also be removing several TV shows from its streaming line-up, most notably FX’s Archer on March 14, as well as the first two seasons of The Killing on March 13 and The Carmichael Show on March 31. The full list of movies and TV shows leaving Netflix in March is below.

Leaving 3/1/18
A Gang Story
Baby’s Day Out
FernGully: The Last Rainforest
First Response
Forget and Forgive
Jaws 2
Jaws 3
Jaws: The Revenge
Less Than Zero
Slums of Beverly Hills
The Chase
The Craft
The Panic in Needle Park
Trigger Point
Two Wrongs

Leaving 3/4/18
Safe Haven

Leaving 3/6/18
The Finest Hours

Leaving 3/8/18

Leaving 3/11/18

Leaving 3/12/18
Disney’s The Santa Clause
Disney’s The Santa Clause 2
Disney’s The Santa Clause 3: The Escape Clause

Leaving 3/13/18
Breakout Kings: Season 1
City of God: 10 Years Later
London Has Fallen
The Killing: Seasons 1-2

Leaving 3/14/18
Archer: Seasons 1-7

Leaving 3/19/18
V/H/S: Viral

Leaving 3/20/18

Leaving 3/22/18
Steve Jobs: One Last Thing

Leaving 3/24/18
Voltron 84: Season 1
Who Framed Roger Rabbit

Leaving 3/26/18
The Life Aquatic with Steve Zissou

Leaving 3/29/18
The Gates: Season 1

Leaving 3/30/18
Life in Pieces: Season 1

Leaving 3/31/18
Awake: Season 1
Bordertown: Season 1
Breakout Kings: Season 2
Brickleberry: Seasons 1-3
Cooper Barrett’s Guide to Surviving Life: Season 1
Friends with Benefits: Season 1
In Like Flint
Lights Out: Season 1
Rosewood: Season 1
Salem: Seasons 2-3
Small Shots: Season 1
The Awakening
The Carmichael Show: Seasons 1-2
The Chicago Code: Season 1
The Crazy Ones: Season 1
The Finder: Season 1
The Good Son
Traffic Light: Season 1