The end of the month means a fresh new crop of interesting films coming to platforms like Netflix, Hulu, HBO Max, and Amazon Prime Video — but it also means scrambling to say goodbye to all the great movies you forgot about or always meant to get around to but didn’t. You’re looking for the good stuff and you don’t have a lot of time. We get it; we got you covered.
We’ve combed through the wave of outgoing streaming releases to bring these platforms have to offer during this long holiday weekend. Here there are, 15 of the best movies leaving the major streaming platforms before July.
28 Days Later
Danny Boyle injected new life into the shambling corpse of zombie horror with his 2004 post apocalyptic film 28 Days Later. Set four weeks after a mysterious, incurable virus in a clandestine testing facility spreads throughout the UK, transforming those infected into ravenous man-eating monsters, a handful of survivors attempt to band together and find sanctuary among the ruins of society. A sizable breakout film for several notable actors including Cillian Murphy (Inception), Naomie Harris (Moonlight), and Christopher Eccleston (Doctor Who), 28 Days Later is a modern horror classic, and patient zero for zombie horror film’s second renaissance. —Toussaint Egan
28 Days Later leaves Hulu on June 30.
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Butch Cassidy and the Sundance Kid
Paul Newman and Robert Redford shine and smolder as the titular protagonists of George Roy Hill’s landmark 1969 western Butch Cassidy and the Sundance Kid. Written by the inimitable William Goldman (All The President’s Men, The Princess Bride), the story follows Butch and Sundance who, amid the waning years of the Old West and on the run in the wake of an attempted train robbery gone wrong, attempt to escape to Bolivia while staying just enough steps ahead of the law. The film, which was selected for preservation in the United States National Film Registry in 2003 and regularly sits among the list of the greatest American films ever produced, is a tense and enthralling adventure of mythic proportions. —TE
Butch Cassidy and the Sundance Kid leaves Hulu on June 30.
Cloudy with a Chance of Meatballs
Before Phil Lord and Christopher Miller became the hitmaker directing duo behind 21 Jump Street and The Lego Movie, and the in-demand producer team behind Spider-Man: Into the Spider-Verse, they wrote and directed this amiably goofy kids-book adaptation about a dorky scientist (Bill Hader) whose attempt to solve world hunger produces the unexpected effects of making food rain from the sky — first normal food, then monstrous mutated food that threatens the world. It’s largely an excuse for sight gags and action sequences, as the characters navigate threats made of giant food, but it’s tremendously lively and fast-placed, with unconventionally weird banter and the same kind of wild, snappy humor that made Lego Movie such a hit. —Tasha Robinson
Cool Hand Luke
“My boy says he can eat 50 eggs, he can eat 50 eggs!” A classic movie about a stubborn man fighting the system, Cool Hand Luke is primarily remembered today for the scene in which Paul Newman downs 50 hard-boiled eggs to win a bet, and a grim prison warden’s line, “What we’ve got here is failure to communicate!” Newman stars in an Oscar-winning role as an iconoclast arrested for using a pipe-cutter to decapitate parking meters, in an apparent act of futile, self-destructive sabotage against the state. Sent to a sweaty Southern prison, he feuds with the powers that be, is endlessly punished for it, and plots his escape. It’s a deliberately paced film, full of all the despair and winking anti-authoritarianism 1967 had to offer, and Newman is mesmerizing in his quiet war against the wardens of the world. —TR
Cool Hand Luke leaves Netflix on June 30.
The last of the five pre-Code comedies the Marx Brothers produced for Paramount Pictures, Duck Soup is widely considered by fans and critics to be the group’s finest film and one of the funniest movies ever made. Groucho Marx stars as Rufus T. Firefly, the newly appointed president dictator of the bankrupt country of Freedonia who declares on the neighboring state of Sylvania in order to win the affections of the Mrs. Teasdale (Margaret Dumont). Zeppo Marx plays Bob Roland, Firefly’s secretary, while Harpo and Chico Marx play spies working on behalf of Sylvania to annex Freedonia. The film’s musical set piece, wherein the Firefly leads the generals and soldiers of Freedonia in an elaborate dance number after declaring war on Sylvania, is as comical as it is musically infectious. —TE
Duck Soup leaves Criterion Channel on June 30.
Enter the Dragon
Released just weeks after the tragic death of its leading man, Enter The Dragon was the film that was set to catapult Bruce Lee to the heights of cinematic stardom. Ultimately, it made him into a legend. Grossing over $20 million in its initial limited release in the United States, the kung fu-blaxploitation-spy film is widely regarded as one of the greatest and most influential films of its era not only for its thrilling action, but for Lee’s eminently charismatic presence, as he quotes tenets from his own hybrid philosophy of Jeet Kune Do. The film is also a revolutionary and empowering portrayal of African-American and Asians as physically powerful and adept fighters in control of not only their own bodies and destinies. Looking back nearly half a century, Enter The Dragon is rightfully recognized as a vanguard for transformative power of representation through cinema. —TE
Enter the Dragon leaves Netflix on June 30.
The Girl with the Dragon Tattoo
David Fincher’s take on Stieg Larsson’s massive international bestseller feels a lot colder and more aggressive than the earlier Scandinavian co-production starring Noomi Rapace in the lead role as uncompromising punk hacker Lisbeth Salander. This 2011 version, with Rooney Mara as Lisbeth and Daniel Craig as crusading journalist Mikael Blomkvist, is more obviously reaching for blockbuster status, which it didn’t quite achieve — it was a minor box-office disappointment, coming just after Larsson-mania peaked. It’s worth watching, though, to see exactly what took the world by storm in 2005, when the book version of Dragon Tattoo first came out: a grim and exploitative thriller-procedural, with Mikael and Lisbeth separately pursuing a series of horrific predatory men, and bringing them to grotesque forms of justice. —TR
The Girl with the Dragon Tattoo leaves Netflix on June 30.
I Am Legend
Depending on your tastes, you can think of this Richard Matheson adaptation different ways. Action fans might think of this as the movie where Will Smith lives alone (except for his dog) on post-apocalyptic Manhattan, fighting to find a cure for the disease that turned the population into light-fearing vampires. Everyone else might just think of it as the movie where Will Smith tearfully quotes Shrek at great length to Alice Braga. It’s an oddity, but it’s also more emotionally involved than most action blockbusters, and the early exploration of isolation in what used to be a teeming city is eerie and compelling. After watching it, though, do yourself a favor and look up the alternate Director’s Cut ending, which is more powerful and more hopeful. —TR
I Am Legend leaves Hulu on June 30.
Let the Right One In
A 12-year-old Swedish boy finds a friend in a vampire who looks roughly his age, but is actually an old vampire permanently trapped in the body of a young child. The film is kaleidoscopic, each viewing revealing something different than the last. The first time I saw the film, I was a pessimistic college student, and I read the central relationship as a warning about the parasitic nature of love. After college, the children’s bond reminded me of the impermanence of youth, and why growing up is a mixed blessing. This past year, I was far more focused on the girl’s relationship with her caretaker, an older man who sacrifices everything for her existence.
The film was adapted from John Ajvide Lindqvist’s 2004 novel of the same name, which inspired not just this Swedish film, but a 2010 American adaptation, a comic-book prequel, and two stage plays. The latter has its own legacy — it was adapted by the magnificent National Theater of Scotland, and it eventually had a run at St. Ann’s Warehouse in 2015. Few books inspire so much additional great art. So I suppose I’m recommending the book just as much as the film. —Chris Plante
Let the Right One In leaves Amazon Prime Video on June 30.
The Long Goodbye
Robert Altman’s 1973 neo-noir thriller stars Elliot Gould as Phillip Marlowe, a private detective who finds himself implicated in the death of his friend’s wife after driving him to the Mexico border. Drawn into a seedy web of deception rife with money, murder, and sin. Adapted from Raymond Chandler’s novel of the same name, The Long Goodbye is championed as a masterpiece of form and genre; a morality tale charged with the paranoia and suspicion endemic to the culture of the ’70s. —TE
The Long Goodbye leaves Hulu on June 30.
Man on Wire
In 1974, 24-year-old street performer Philippe Petit took 45 minutes to walk across a wire spanning the distance between the World Trade Center towers before being arrested by police. Structured like a heist film, “Man on Wire” is a documentary of Petit’s life and career, his motivations for daring such a monumental and mortally terrifying feat, and how he and his team of cohorts pulled off one of the most exhilarating acts of performance art in history. —TE
Man on Wire leaves Amazon Prime Video on June 30.
The Princess Bride
The Princess Bride has it all — swashbucklers, epic adventures, incredibly quotable humor, Cary Elwes, and a lovely romance that ties it all together. It’s a fairytale fantasy that plays with familiar tropes and breathes new life into them. The amount of pop culture references and quotes birthed from this movie is frankly inconceivable. Witty, funny, and deeply romantic, The Princess Bride is a fun fantasy romp with a very sweet framing device of a grandfather reading his grandson a bedtime story, which preserves the narrative of the William Goldman book a little better than a straightforward adaptation. —PR
The Princess Bride leaves Hulu on June 30.
Inspired by the original 1932 film, Brian De Palma’s 1983 gangster film follows the rise and fall of Tony Montana, a Cuban ex-convict who migrates to Florida during the Mariel exodus of 1980 and begins his career as a contract killer before becoming a drug lord. Al Pacino’s inspired performance as Montana, coupled with Oliver Stone’s screenplay and supporting performances courtesy of Michelle Pfeiffer and Steven Bauer, carried Scarface to critical acclaim beyond its lackluster initial reception, becoming one of the most celebrated and ubiquitously cited crime dramas of its era. —TE
Scarface leaves Netflix on June 30.
Antoine Fuqua’s Training Day is one of the most iconic crime thriller films of the early 20th century. Ethan Hawke stars as Jake Hoyt, an idealistic LAPD narcotics officer tasked with shadowing Detective Sergeant Alonzo Harris, played by Denzel Washington in his first Academy Award winning performance. If you’ve somehow never seen Training Day, and Denzel’s quote-worthy final speech, drop everything and make plans to watch this one. —TE
Training Day leaves Netflix on June 30.
Tucker & Dale vs Evil
Eli Craig’s 2010 horror comedy stars Tyler Labine and Alan Tudyk as two affable, well-meaning hillbillies who cross paths with a group of college kids while on their way to their “fixer-upper” vacation home in rural West Virginia. Chaos ensues as the dimwitted undergrads, terrified by the otherwise benign pair, run headfirst into encounters of gruesome terror and death. Tucker & Dale vs Evil is not only a bloody and hilarious twist on “cabin in the woods” horror films, but an edifying story about how you shouldn’t judge people by their appearances. —TE
Tucker & Dale vs Evil leaves Amazon Prime Video on June 30.
Kristen Stewart stars in this horror movie from William Eubank (The Signal), which crosses Alien with Armageddon and the survival game Soma as it follows a group of researchers in a deep sea drilling station as they try to escape disaster. The rest of the cast is filled out with other familiar faces — Vincent Cassel, Mamoudou Athie, John Gallagher Jr. — and, as we dove into in our review, the movie’s appeal is in cheering them on against terrifying odds.
[The] real attraction of Underwater is in rooting for these characters to survive while watching them get torn apart. Their deaths carry little weight, trading pathos for the fun of watching helmets implode and suits fill with blood. At points, the film’s flimsiness is laughable: A diagram estimating the range of an explosion shows that it’ll go just far enough to destroy monsters, but not the people escaping them. But Eubank always moves on quickly, bringing on the next set of undersea scares.
Underwater leaves HBO Max on June 30.