‘Aquaman and the Lost Kingdom’ and Every Other Movie Coming to Netflix This Week
Looking for something new (and a little festive) to stream? Here are the films landing on Netflix from Monday, November 24 through Sunday, November 30, with quick primers on plots, key cast, and the creative teams behind them—plus the exact day each one arrives.
‘Santa Bootcamp’ (2022)
Arrives Monday, November 24. An event planner named Emily is tasked with pulling off a make-or-break holiday gala and is sent to a “Santa Bootcamp,” where the tough-but-warm Belle puts her through seasonal paces while a budding romance complicates the mission. Melissa Joan Hart directs from a script by Michael J. Murray for Hartbreak Films, with Rita Moreno as Belle and Emily Kinney as Emily. Supporting players include Justin Gaston, Patrick Cassidy, Deanne Bray, and Marissa Jaret Winokur. The film blends holiday romance, light comedy, and plenty of North-Pole training montages.
‘The Island’ (2005)
Arrives Monday, November 24. This sci-fi action thriller follows two sheltered residents who discover their world is a clone facility and flee the corporation that created them. Michael Bay directs, with Ewan McGregor and Scarlett Johansson in dual lead roles, joined by Djimon Hounsou, Sean Bean, Steve Buscemi, and Michael Clarke Duncan. The screenplay is by Caspian Tredwell-Owen, Alex Kurtzman, and Roberto Orci. Expect chase sequences, futuristic tech, and a conspiracy that widens as the heroes reach the outside world.
‘Jingle Bell Heist’ (2025)
Arrives Wednesday, November 26. A pair of down-on-their-luck workers in London team up to rob a posh department store on Christmas Eve, only to find unexpected chemistry complicating the caper. Michael Fimognari directs the holiday rom-com caper produced by ACE Entertainment, starring Olivia Holt and Connor Swindells, with Lucy Punch and Peter Serafinowicz in supporting roles. The story is credited to writer Abby McDonald, with production set and promotion highlighting its blend of romance, comedy, and heist beats. Netflix lists it as a seasonal original with a trailer showcasing the duo’s sleight-of-hand and escalating scheme.
‘Aquaman and the Lost Kingdom’ (2023)
Arrives Thursday, November 27. Arthur Curry must ally with his estranged half-brother Orm to thwart Black Manta, who wields the cursed Black Trident and threatens global catastrophe. James Wan directs, with Jason Momoa, Patrick Wilson, Yahya Abdul-Mateen II, Amber Heard, Randall Park, Dolph Lundgren, Temuera Morrison, Martin Short, and Nicole Kidman among the ensemble. The screenplay is by David Leslie Johnson-McGoldrick from a story developed with Wan, Jason Momoa, and Thomas Pa’a Sibbett, expanding the mythos with retro-sci-fi touches. Expect large-scale underwater action, sibling banter, and a world-saving quest.
‘The Stringer: The Man Who Took the Photo’ (2025)
Arrives Friday, November 28. This feature documentary follows a two-year inquiry into the authorship of the Vietnam War’s “Napalm Girl” image, tracking journalists and investigators as they examine testimony and archives behind one of the century’s most consequential photographs. Directed by Bao Nguyen, the film features reporting by Gary Knight and collaborators and has sparked vigorous debate from press organizations and eyewitnesses. Coverage out of Sundance details the competing claims and the Associated Press’s subsequent review affirming the long-standing credit while acknowledging unresolved questions. It’s a deep dive into media history, journalistic ethics, and how iconic images are attributed.
‘Left-Handed Girl’ (2025)
Arrives Friday, November 28. Set around Taipei’s night markets, this drama follows a single mother and her two daughters as they try to make ends meet, with family tensions erupting when a traditional grandfather calls the youngest’s left hand “the devil’s hand.” The film marks Shih-Ching Tsou’s solo feature as writer-director, with Sean Baker among the producers and collaborators. Festival notes highlight the ensemble led by Janel Tsai and Shih-Yuan Ma, observational photography, and themes of identity, superstition, and working-class resilience. After a Cannes Critics’ Week premiere, it continued a strong festival run before its streaming bow.
What will you start with—cozy holiday capers, a superhero splash-fest, or a late-night market heart-tugger? Tell us your picks in the comments!
