35 Best Action Movies on Netflix

A gritty and realistic thriller set in France’s notorious capital city of crime – Marseille. 

Zachary is released from Juvenile prison to learn that his mother has abandoned him. He finds kinship in an underage sex worker by the name of Shéhérazade. 

This seems like the set-up for a tough watch, but Shéhérazade plays like a romance when it’s slow, and a crime thriller when it’s fast (it’s mostly fast). Everything about the story and two leads’ relationship rings true. Added to the fact that it has no interest in emotionally manipulating you, the movie is more gripping and thought-provoking than sad.

A great story, fantastic acting from the cast of first-timers, and outstanding direction give the feeling that Shéhérazade is bound to become a modern classic. If you liked City of God, you will love this. 

The story of the Von Erich family is excruciatingly sad, but Iron Claw doesn’t dive right into the tragedy. Instead, it takes care to paint a picture of a close-knit family that’s filled with just as much warmth, jealousy, affection, and resentment as the next bunch. Durkin masterfully draws you into their circle so that everything that happens next is sure to cut deep. The choreography, chemistry, color—everything is carefully and beautifully set up, but the casting is what stands out the most. This wouldn’t have worked as well if it weren’t for the inspired move to pair Zac Efron, Jeremy Allen White, Harris Dickinson, and Stanley Simons as brothers and partners. On the internet, people have been dubbing The Iron Claw as “Little Women and The Virgin Suicides for men” and it’s not hard to see why. Apart from the sibling bond over glory and growing pains, all these films are also powerful explorations of gender. Iron Claw is a vicious takedown of toxic masculinity, while also being a searing family drama and an incredible showcase for Efron and company.

The Siege of Jadotville is a different kind of war movie. It doesn’t recount famous battles or portray renowned heroes – instead, it’s about heroes and events that went completely unnoticed. Namely, the Irish 35 Battalion ‘A’ Company – a group of youngsters who are sent out on a U.N mission to the Congo. What was supposed to be a simple positioning quickly becomes one of the most sought-after locations and the battalion of 150 ‘war-virgins” find themselves up against 3000 mercenaries led by experienced French commandants. And what a tribute this film is: it’s well-paced, powerfully shot, and the acting, led by Jamie Dornan on one side and Guillaume Canet on the other, is absolutely perfect.

Director Bong Joon-ho (Snowpiercer) does something quite amazing with the $50 million budget Netflix gave him: he makes a simplistic movie. But man, is it good. Okja tells the story of a “super pig” experiment that sends genetically modified pigs to top farmers around the world. In Korea, a farmer’s granddaughter forms a special relationship with one of these super pigs (Okja). When the company who originally ran the experiment want their pig back (performances by Jake Gyllenhaal and Tilda Swinton) – the two find an ally in an animal advocacy group led by Jay (Paul Dano). This is a straightforward movie, but nevertheless it is entertaining and full of thought-provoking themes and performances from an excellent cast.

While based on the Mononoke series, which is in turn, a spin-off of Ayakashi: Samurai Horror Tales, it might seem that Mononoke The Movie: The Phantom in the Rain would require some background reading for people new to the story. Thankfully, there’s no need to do homework for this beautifully designed masterpiece, as the Medicine Seller takes on a new case with every installment. 2024’s Phantom in the Rain (also known as Paper Umbrella) unfolds its world with ease, with doors opening and closing to a select few for a high-pressure, hierarchical imperial household. Immediately, the visuals are stunning, with traditional ukiyo ink and paper mixed with modern kaleidoscopic fill and movement, but even without the gorgeous art, the first Mononoke movie works with its eerie horror, intense sound design, and a compelling mystery driven by court intrigue and vengeful spirits.

Robert Redford and Brad Pitt make quite the ensemble in this edgy game of espionage. With performances as strong as their jawlines, this action-packed rescue mission will keep you in suspense! Be sure to keep up with all the witty banter and interesting plot twists shifting between flashbacks and present-day scenarios. Keep in mind that this isn’t your average spy movie, with a more realistic approach and a character-driven storyline, most of the flash happens cinematically.

Set in 1920s India, RRR follows two revolutionaries who strike up an unlikely bond and fend off the British regime from their home. In their epic journey to protect their people, they encounter a number of setbacks that prompts them to put their incredible combat skills on full display.

Despite its three-hour run, RRR never drags, thanks in large part to its breathtaking action sequences and eye-popping visuals. It may contain all the familiar beats of a blockbuster, but RRR is notably grounded in its central, political theme of anti-colonialism, the sincerity of which keeps the film’s big heart beating palpably throughout.

Animated in every sense of the word, The Mitchells vs. the Machines is a fun and lively watch for anyone of any age. On the surface, it’s about a tech company’s AI going haywire as it turns against humans and takes over the world (an obvious and much-deserved dig at Big Tech). It also immediately stands out as an energetic and inventive film bursting with love for the animation genre.

But at its core, it’s about family and learning to love them even and especially when the going gets tough. Teenager Katie and her father Rick are at that precarious moment in their relationship where everything they do seems to annoy the other, while Katie’s mother Linda tries and fails and tries again to keep the peace. The Mitchells are filled with love, but they’re not quite sure how to express it to each other, and it’s both funny and relatable how it takes a literal apocalypse for them to realize that. This is a family story elevated by dynamic animation and a bizarro storyline. Expect it to go off the rails in the best possible way.

Gangster films have an issue of glorifying organized crime, and in some ways The Pig, The Snake, and The Pigeon does the same. There are excellent, action-packed fight scenes that makes Ethan Juan as Chen Kui-lin look so damn cool, and the journey Chen takes as a stern criminal out for his legacy definitely romanticizes the character, but it’s so compelling to see him contemplate the purpose of his life through confronting those like him, who tend to move for the ideas of love and spiritual detachment. There are some moments when the pacing falters, but The Pig, The Snake, and the Pigeon delivers on its ending and reimagines the gangster as something to remember.

The journey of transitioning can be tough, but it’s not likely to be as wild as the journey undertaken by the titular rich mob boss of the crime thriller romance musical Emilia Pérez. It’s pretty surprising, with the incredibly stylish and totally unpredictable ways the plot unfolds, all made possible by the ridiculous all-or-nothing methods and means of a Mexican mob, and it’s a delight to see Zoe Saldaña and Selena Gomez feel at home in their respective Spanish-speaking roles. There are certain moments where the film bites off more than it can chew, but the visuals are stunning, the story is daring, and there’s really nothing like Emilia Pérez right now.

The Outfit doesn’t need to do a lot to be as sleek and surprising as it is. In fact, much of the film takes place in a single place while consisting of only a few (albeit memorable) characters. It’s deceptively simple, but the tricks it hides up its sleeves are plentiful and pleasurable. It’s a well-made and even better-performed gangster movie. Led by a quietly powerful Mark Rylance (who plays Leonard, the tailor with hidden depths), the actors are serious enough to lend it gravitas but easygoing enough to make it light on its feet.  

All in all, The Outfit is an agile action film with twists that will keep you at the edge of your seat right till the very end. 

It’s not easy to abandon the past. Even if you want to shed your new identity, the memory of what you’ve done still linger in other people’s minds, especially if guns and violence are involved. Old Henry is one of the few Westerns that actually examines that. Of course, it holds some of the classic Wild West gunslinging, horse riding, and hunting down an outlaw, but the film actually expands on these. The film doesn’t stop on the cool moments– it considers the emotional weight of the kills, the blood on the gunslinger’s hand, and the past that inevitably haunts him, through an unexpected twist that plays with the genre’s tropes. Old Henry is much more somber than badass compared to classic Westerns, but it’s this approach that proves that there’s so much more to the genre that has yet to be explored.

They Cloned Tyrone is a genre-bending gem. It combines Deep State conspiracy theories with sci-fi and social commentary, all while looking like a futuristic 1970s Blaxploitation film. It’s outrageous good fun and pleasing to look at (here is a film that knows how to properly light Black actors), but there are times when it feels too far fetched. The science can get wonky and its commentary on gentrification lacking, but all is forgiven when you have such a strong trio of leads. One of the smartest things They Cloned Tyrone does is pair Boyega with Teyonah Parris, who plays the call girl Yo-yo, and Jamie Foxx, who plays the pimp Slick Charles. They have a fun-loving no-nonsense chemistry about them that makes them easy to attach to and root for. They’re also just very funny, which might be expected of Foxx but it comes as a pleasant surprise for Parris, whose popular turns in Mad Men and WandaVision prove that she’s been severely underutilized as a comic.

An all-female action comedy that doesn’t get self-serious about the way it’s subverting the genre — Wingwomen feels like a breath of fresh air. It wisely grasps that plot isn’t paramount for a movie like this, and so it joyously dunks on cerebral scenarios with its unabashedly silly story convolutions, like when its professional thieves take a brief pause from their momentous One Last Job™️ to sail to Italy and exact bloody, flamenco-delivered revenge on the gangsters who killed their beloved rabbit. Exotic Mediterranean location-hopping isn’t the only way Wingwomen milks Netflix’s finance department for all it can get, either: director-star Mélanie Laurent also packs in all manner of stunts, from spectacular base-jumping sequences to dramatic drone shootouts.

For all its breezy style, though, there is real heart here, and not the kind that feels crafted by an algorithm. It’s true that a late twist unwisely uses the movie’s embrace of implausibility for emotional ends, but otherwise, the relationship between its professional thieves — ostensibly platonic but very much coded otherwise (a la Bend It Like Beckham) — has surprisingly sincere warmth. Thanks to the cast’s natural chemistry and characters that feel human despite the ridiculous plot, Wingwomen is much more moving than you might believe possible for a Netflix action-comedy.

The Queenstown Kings is a sports film that has plot points we’re all familiar with – alcoholic father trying to seek forgiveness from his son, a tempting offer for fame and riches, the standard training montage and more. These plot points sometimes go into melodramatic territory, but the film’s relationships make these scenes feel sincere, especially with the family dynamic that drives the film. And as Buyile strives to better himself to become a good example to the team, and Fezile makes different choices from his father, The Queenstown Kings feels sincere as a reminder of the better side of South African men, one that can be uncovered if they, and their community, believe in a higher dream.

Starting with Columbia Picture’s intro syncing into a rave, director Doug Liman’s sophomore feature Go instantly establishes its ecstatic energy– both in the hyper happy and drug-fuelled way– that made it a cult classic. All in one night, the dark crime comedy culminates in a wild Christmas Eve in three separate storylines: one with dissatisfied checkout girl Ronna, who needs fast cash, another with her drug dealer co-worker Simon going to Vegas, and the last with soap opera actors Adam and Zack, who want to get high while staying out of trouble. The cast is excellent, with witty quips and the twenty-something ennui of that generation, and each decision their characters make to feel good all turns Christmas Eve into a truly awful, yet terribly entertaining ride. While some of the humor is definitely dated, Go captures the insane chaotic energy just right before the new millennium.

Released a month directly after Kyoto Inferno, Rurouni Kenshin Part III: The Legend Ends continues Kenshin’s journey, the same journey that revived the samurai chambara genre in recent years. As Japan made its shift towards a modern society in the Meiji era, Kenshin fights in promise to his master’s teachings, to wield his sword for life, rather than for the violence that once was the basis of power. The Legend Ends continues Rurouni Kenshin’s cinematic style with all the outstanding fight choreography, excellent production design, and exceptional cinematography, making it a must watch for fans of the genre as well as action fans in general, but those new to the franchise or those who have only watched the films might still find themselves lost with regards to the way this arc was structured.

The Sea Beast tells the story of Jacob, a legendary sea monster hunter, and Maisie, a wannabe monster hunter herself. When a dangerous encounter isolates them from the rest of the crew, they’re forced to team up and reconcile their opposing beliefs—Maisie believes there’s good in the beasts, but Jacob has yet to be convinced.

Action-packed, fast-paced, and thoroughly entertaining, The Sea Beast is a perfect weekend watch. The part-Moana, part-Pirates-of-the-Caribbean tale also has the added bonus of being age-appropriate (rated PG), making it suitable for those spending their precious movie time with kids.

Real life violence is usually not a good idea, but when those in power would do anything to gain more power at the expense of those more vulnerable, sometimes those with the strength should wreak violence. After a fruitful action-comedy collaboration with Netflix, writer-director Timo Tjahjanto teams up with them again for a darker crime thriller The Shadow Strays. It’s a straightforward rescue crime thriller that follows the trend set by John Wick, but with Tjahjanto’s insane horror-inspired, gore-filled kills and Aurora Ribero’s dynamic performance, The Shadow Strays is brutal, exciting, and a cathartic watch in a world betrayed by those at the top.

Because the world exploits developing countries as dumping grounds for their waste, more attention should be focused on this issue. The immediate filmmaking response would be to document this reality, but Telugu thriller Gandeevadhari Arjuna takes this idea as the driving force of its story. It’s the reason why the bodyguard Arjun takes this job, as well as the reason why the Minister needs protection and why his family has unresolved drama. While the romance subplot distracts from this issue, Gandeevadhari Arjuna deftly interweaves this real-life problem into sleek action sequences, relatable family drama, and a personalized depiction of the problem’s consequences.

Everyone has those days where nothing goes right, but no one’s having as bad of a day as detective Yuji Kudo is in Hard Days. It isn’t just that nothing goes right– everything goes wrong, and he’s just a hair away from losing it all each time. This Japanese adaptation might take a slightly more serious tone than the South Korean original, but it does retain its ridiculous escalation of increasingly terrible things that could possibly happen, with Junichi Okada and Go Ayano letting loose in their detective characters’ morally dubious behavior. Hard Day is a decent watch, if a bit bloated, especially for those familiar with the story.

Pollution disproportionately affects developing nations, and when governments continue to allow the lackluster waste management processes of large-scale industries, sometimes the only option is to leave. That’s what the six protagonists do in Blood Vessel, though escaping the situation isn’t as easy as it sounds. The first half starts out fairly slow, as we get to know the group, but it’s all to bring about emotional devastation as the film unfolds into violent ends. While certain plot elements don’t have a neat resolution, and certain technical aspects sometimes feel distracting, Blood Vessel works through the strength of its six lead performances.

While not having world-ending stakes or large-scale operations, Sixty Minutes just works as an action movie. Sure, the plot is familiar and a little far fetched, but the film maximizes the potential of its premise, with excellently choreographed fight sequences working in tandem with the cinematography to reflect the MMA fighter leading the movie. Each moment isn’t wasted, with the action escalating each time Octa finds out about the hidden information kept from him about the match he’s planned to skip, and the film easily keeps track of his journey through neon-lit stopwatch faces and maps. And when we (and Octa) feel tired from all the fighting, the film ends right on time after sixty (and twenty nine) minutes.

We would never know when we would die, but oftentimes, when faced with a deadline to one’s mortality, most would tie up loose ends, make the most of the time left, and reunite with their loved ones. 24 Hours with Gaspar is centered instead on the revenge of a grizzled, worn-out detective that only has one last regret: letting go of his childhood friend Kirana, not being able to find her. He hopes to enact his revenge by enlisting some friends and disgruntled victims of Wan Ali, who’s the most likely guy behind her disappearance. There are moments when the dialogue does falter, but Gaspar’s adventure is depicted in the most stylish way, complete with slick cinematography and a soundtrack that sets the mood for each turn in the mystery, even in a fairly depressing low tech dystopia. The film’s sci-fi might not be as hopeful as usual, and is mainly limited to Gaspar’s artificial heart, but 24 Hours with Gaspar is such a fun neo-noir mystery mash to watch, as long as you don’t expect something akin to John Wick or Blade Runner.

Of course, as a serialized medium with plenty of volumes, it isn’t easy to condense manga into movies. Many a title have let down fans before, especially with the notorious live action curse. But there are some films that capture the energy and excitement of the original, and one such film is Kingdom. Not to be confused with the Korean Netflix show, the Japanese film is a thrilling depiction of the Chinese history-inspired story, with excellent choreography, elaborate sets and costumes, and all the battle scenes expected from the adaptation. It’s not particularly deep, and they really brush over Shin’s loss in favor of much more swordfighting, but it’s not bad if all you’re looking for is epic action in historical dressing.

It’s not easy to turn away from organized crime. On top of having to reckon with what you’ve done and what reparations you have to make for the survivors, you also have to deal with everyone out to kill you. This is a familiar premise, of course, but writer-director Timo Tjahjanto takes it as an excuse to create some of the bloodiest and most action-packed sequences ever created, all stitched together in The Night Comes for Us. It’s a fairly thin martial arts crime thriller, but it’s wildly entertaining. With every skull crushed and gallons of blood spurted, Tjahjanto goes nuts with his ever creative, violent spectacles that action fans must watch, if they can stomach the gore.

The pulp and machismo that defined the ‘80s is very much present in Vengeance Is Mine, All Others Pay Cash, but instead of glorifying the era, Indonesian auteur Edwin smartly flips the script and puts the headstrong Iteung (Ladya Cheryl) front and center in this subversive and heady action film. As the anti-damsel-in-distress, Iteung expertly wrestles her way through love, all while retaining an endearing cheekiness and independence about her. 

Excellently choreographed, impeccably detailed, and skewed with enough of a feminist bent to keep it fresh, Vengeance Is Mine fittingly won the top prize at the 74th Locarno International Film Festival.

More streamlined and more technically ambitious than its predecessor, yet even less interested in developing an interesting setting or characters, Extraction 2 takes the most predictable route available for an action sequel. The first film’s attempts to center its narrative on the unnecessary loss of life of children is nothing but an inconsequential footnote in this movie—which gestures toward the same ideas but never actually allows its already generic characters to be emotionally affected by anything.

So thank goodness that Extraction 2’s action is so frequently fun to watch, proudly wearing its influences from movies like The Raid, and from the most relentless of video game set pieces. There’s genuine inspiration behind how creative and how brutal the violence can get here, brought to life by crisp sound design and production design that the characters can constantly interact with. So while all the halfhearted character work doesn’t give the action any extra weight, the action on its own is already so dynamic, that every set piece is still worth the wait.

Through this action-packed, absolutely crazy ride of a movie, writer-director Atlee and Bollywood legend Shah Rukh Khan team up in Jawan to question the country’s corruption in multiple fields, including, but not limited to the agricultural sector, the healthcare industry, and the electoral system. They do so through an amped-up, explosion-filled spectacle led by a high-tech Robin Hood and his merry women inmates, who use terrorism in order to pay out loans for poor farmers and other promises that politicians give to their voters. It’s also intertwined with a romance plot that sees the vigilante and the single-parent counterterrorist chief in an unknowing enemies-to-lovers, mistaken identity marriage. It’s a strange film that tries to tackle as many political messages as possible, but it’s also downright entertaining with every plot twist it takes.

After the critical and commercial success of Concrete Utopia, it makes sense for Lotte Entertainment to turn it into a franchise. Badland Hunters is a more action-focused spinoff, with that dystopian world looking like a wild, wild Seoul and Ma Dong-seok as its lone ranger. Compared to its predecessor, the commentary is scant, the plot is thin, and the only thing that connects it is the apartment. But even with the B-movie mad scientist plot, long-time stunt coordinator Heo Myung-haeng makes his directorial debut wildly entertaining, with solid action that doesn’t depend too much on CGI. Human reptiles aside, Badland Hunters is just so fun to watch.

Liam Neeson has become one of those names that are used to perfectly describe any film he is starring in. In The Grey, things are different. Of course there is a more than enough amount of adrenaline-charged action, edge-of-your-seat thrills and catchphrases only worthy of a film where Neeson fights wolves for survival after a plane crash (a scenario that conveys more badass-ness would be hard to find) – but behind all that is a gripping, deep, and thoughtful drama.

The Grey is like taking a plane, having everything go perfectly, and then being upgraded to business class. You’ll get the action you signed up for, but you’ll also be offered a deep and interesting story. Hopefully your plane won’t face the same faith as the one in the movie.

Ijogbon is a straightforward thriller centered on a pouch of uncut diamonds, which bring chaos to the four teenagers that find it. With the film’s young cast, the ensemble, understandably, makes poor decisions when given a stack of cash. The way they and their families handle difficulties, like deciding who to get the gun, or deciding what to do when they find random dead bodies, actually feel humorous – there’s something to be said about how, given the right circumstances, both kids and adults make the same mistakes. Thematically, there’s also something here about how natural resources in Nigeria are made for high end technology they can’t afford. However, the film doesn’t really delve into its themes, or play up the comedic potential it has shown, deciding instead to play out the same way similar stories do.

After Black Hawk Down (2001), the casual moviegoer would have thought that the rescue operation was only conducted by American soldiers. In reality, it was a multinational effort, and Malaysia’s side of the story has finally been depicted in MALBATT: Misi Bakara. Surprisingly, it doesn’t play out as a straightforward, action-packed rescue mission– writer-director Adrian Teh does deliver the action, but the film also contemplates about the team itself: how they made sense of their opposition towards a country they shared religions with, and how they experienced the ignorance from American soldiers that didn’t even know where Malaysia was. While some introductory sequences falter, and the film fumbles certain green screen moments, MALBATT: Misi Bakara brings both the spectacle and the drama that makes it stand out from other depictions of the rescue mission.

The big ideas swirling at the center of The Creator are about human heartlessness versus AI compassion, man’s coldness versus robot warmth. Unfortunately, the movie winds up being an unwitting example of the former: visual effects take precedence over emotion here, meaning you rarely feel any of the intended poignancy of this story about a soldier driven between warring sides by love.

Part of that effect might be because the premise is an iffy one to swallow, as The Creator drops during a time when the once-theoretical threats posed by AI start to become disconcertingly real. But mostly, the sterile feeling of the film is a product of the writing, as a shallow script prevents most of the cast from ever making their characters compelling. Though its lifelike effects are something to marvel at, The Creator never quite convinces us that any of its humans are real — a pretty gaping flaw for a movie that wants to sell us on the idea that robots might one day be sentient.

Historically, noble ladies get married to lords in order to strengthen existing alliances between their family’s domains. At best, they are able to broker peace, but at worst, they are hostages to the stronger family they married into. Damsel cleverly depicts a twisted version of this relationship through a reversed version of the fairytale, where instead of a wedding being the ultimate endgoal, it is the start of the princess’ misfortunes, placing Millie Bobby Brown into a fantastical survival stand-off against a dragon. It’s an intriguing idea, though the film mostly sticks to its PG-13 lane, leading to a fairly entertaining dark fantasy flick without delving deep into its horrors.