What's on Netflix in December

Here's everything that's streaming on Netflix in December 2026.

Bad Day (December 13)

Cameron Diaz stars in a comedy about a single mom fighting to keep one little promise to her daughter on the absolute worst day of her life.

Pride and Prejudice (December 3)

Dolly Alderton faithfully brings Jane Austen’s iconic story back to life for audiences that cherish it, whilst inspiring a new generation to fall in love with it for the first time. 

Two centuries on, the story of five sisters, hasty judgements and love that takes its time still captures hearts. Dolly Alderton explains “Pride and Prejudice is such a timeless story because of the emotions in the book; they are as pertinent now as they were in 1812. Embarrassment of your family, fear that you’re going to get left behind, fear that the world is not going to be a safe place for your children as it was for you, mortification that you judged someone incorrectly or that you had been misjudged. We go to that book to see our hearts reflected in it.”

Lizzy (Emma Corrin) and Jane (Freya Mavor) open the trailer on the roof of Longbourn, debating the dilemma that defined Austen’s era and still resonates today. Dolly shares: “I always knew that I wanted it to be the opening line of the trailer, not only because I think it’s so relatable to women now who are looking to find the right partner and looking to find love, who are resentful of how much time it takes over their schedule and their brain, but also because it captures how much Lizzy is a character who’s working things out as she goes along.”

Mr Darcy (Jack Lowden) remains pensive and reserved throughout, until the closing moments hint that his pride may be softening, the first sign of the love story to come…

The Further Misadventures of Cliff Booth (December 23) 

Brad Pitt returns to his Academy Award-winning role as Cliff Booth, only this time it’s 1977 and it’s a very different Hollywood. Directed by David Fincher from a screenplay by Quentin Tarantino, the film also stars Elizabeth Debicki, Scott Caan, Carla Gugino, Yahya Abdul-Mateen II and Peter Weller.

DIRECTOR: David Fincher

WRITTEN BY: Quentin Tarantino

Black Sheeps: Movie Review

Cast: Tabatha Killick, Oliver Driver, Lucia Davison, Joe Witkowski, Ian Harcourt, and Nathan Meister
Director: Jonathan King

Twenty years ago, New Zealand's horror scene collided with the inevitable overseas obsession about the country's sheep population to create a comedy film that encapsulated both and delivered on gore and guffaws.

The sequel's unfortunately less successful, despite crafting together some strong elements and some mightily impressive practical creature effects, courtesy of Weta Workshop, returning to where they began.

The story follows would-be scientist Oats (Killick, commanding and impressive) who believes a pathogen from the original outbreak has mutated and is on the verge of getting loose. As she heads back to her hometown of Woolsten to catch up with her family and find out more about the source, she finds herself slap bang in the middle of some very strange goings-on.

Tapping into post-Covid concerns and the way the boomer population can be manipulated, Jonathan King's script has some particularly robust elements that unfortunately a mix of tone never quite manages to seize upon.

It deserves commendation for refusing to retread the initial premise again and while there's a feeling of parallel storylines compared to the previous one in terms of the outbreak, twisting it into 2026 concerns about vaccinations (and subverting some of the mantras) and suburban paranoia works well for the film's MO.

But despite the cult of the lamb furries who appear during proceedings (and whose motives seem largely at odds with the film), Tabatha Killick delivers a measured and impressively gutsy performance as the headstrong scientist Oats, whose current career is at odds with her family's past and current beliefs.

Far more successful when it's a touch more ram-bunctious and freewheeling with its humour and gore, Black Sheeps delivers an impressively chaotic massacre that sees the practical FX working in extremis to pull off some suitably gory visual moments and hilariously off the wall gore.

It's here that Black Sheeps works better and perhaps where it should have leaned into a little more for greater success. It's by no means a disaster, just a film that feels like it never quite lives up to or enhances its original legacy - despite some truly funny visual gags and gore-filled moments.

Final Fantasy: Resonance: PS5 Review

Developed by Square Enix
Published by Square Enix
Platform: PS5

The first HD-2D game within the Final Fantasy series, this latest from Square Enix is a celebration of everything that makes up the genre.

A modern reimagining of the first arc of the mobile game Final Fantasy Brave Exvius, the game is set in the world of Lapis, and follows Rain, Lasswell and Fina on a quest to protect Crystals from the Veritas of the Dark. 

Mixing turn-based strategy with cute pixel-heavy graphics makes this latest Final Fantasy feel like a real blast from the past - and in a good way. While Rain concentrates on fire attacks, Fina on light and Lasswell on ice attacks, the game offers up plenty of points of difference during the combat in their battles against the Sworn Six.

Travelling through the world brings out details of Fina's story and other characters, as well as introducing Random Battles back into the game as the fights can happen at any time and in any place. It's a welcome touch that adds much to the Final fantasy Resonance feeling, and builds on much of the nostalgia and goodwill the game franchise has provided over the past 40 years.

The ability to summon Visions, characters from the game's past also bring a welcome touch to proceedings and is a great way to pay homage to everything that's already gone past the game while ensuring the franchise doesn't become bogged down in its own world.

IT's beneficial that all the characters in Final Fantasy: Resonance feel relevant throughout, ensuring there's a deep immersion and connection to events in the world of Lapis and the central stories - not all JRPGs do this successfully and this latest is to be commended for engaging down this path.

Ultimately, Final Fantasy: Resonance, with its gorgeous pixel art and beautiful background worlds feels like a real love-letter to the Final Fantasy world - you'll once again embrace the chocobos and other elements and feel like it's never been a better time to revisit the fantasy series.

HBO Max to stream The End of Oak Street from November 13

Warner Bros. Pictures’ The End of Oak Street will make its global streaming debut on Friday, 13 November, only on HBO Max. The End of Oak Street stars Anne Hathaway, Ewan McGregor, Maisy Stella and Christian Convery.

After a mysterious cosmic event rips Oak Street from suburbia and transports their neighbourhood to someplace unknown, the Platt family soon discovers that their very survival depends on them sticking together as they navigate their now unrecognisable surroundings. 

The film is written and directed by David Robert Mitchell and produced by J.J. Abrams, Hannah Minghella, Jon Cohen, David Robert Mitchell, Matt Jackson and Tommy Harper. The executive producers are Chris Bender, Jake Weiner, Joanne Lee and Leeann Stonebreaker.

The End of Oak Street debuts Friday 13 November, only on HBO Max.

Godzilla: Destroy All Monsters Melee Remastered: PS5 Review

Developed by Pipeworks Software
Published by Infogrames
Platform: PS5

It truly is Godzilla's time to shine once again.

What with the tremendously good Godzilla Minus Zero hitting cinemas and being one of the loudest films ever, the screen's been the place to see the scaly beast in action - and there's no reason why the small screen can't get in on the action too.

This faithful updating of the 2002 brawler comes roaring out of the blocks with a chance to create some kaiju chaos - and its commitment to simplicity and getting on with it serves it well - as does a blast of nostalgia.

It's a simple idea - select one of the monsters from Godzilla's most popular eras (Mechagodzilla! Gigan!) and use them to fight against an opponent against a backdrop of a city. From dodging environmental hazards to wrestling each other, the game's not too fussed on taking itself seriously, even if it does play like some kind of game you'd play as kids when you were younger with toys.

With its last Kaiju standing attitude and its no-holds barred approach to ensuring the game does what is says on the tin, Godzilla: Destroy All Monsters Melee Remastered really is the kind fo nostalgia-based game entertainment that's fun to play.

It's colourful, it's faithful to the rubber-suited ways of Godzillas past and its soundtrack has all the bombast and noise you'd expect and want from a game of its era. Hand-to-hand attacks, close quarter brawling, and special moves all make up the game's ethos and Pipeworks' commitment to ensuring it's still as simple as it needs to be means the game's got a lot of legs, despite a paper-thin storyline holding parts of it together.

All in all, for fans of Godzilla and those looking for a bit of a nostalgia blast, Godzilla: Destroy All Monsters Melee Remastered roar than delivers what it needs to.

Backrooms: Blu Ray Review

Cast:  Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, and Lukita Maxwell.
Director: Kane Parsons

The latest psychological horror to hit screens comes from the director of a viral web series exploring the existential fear of spaces and transitions, as well as the whole Creepypasta vibe.

When furniture store owner Clark (Ejiofor) discovers a series of rooms in his store that he wasn't aware of before, he starts to explore. But after his therapist (Sentimental Value's Reinsve) discovers he's missing, she sets out to find him.

In  many ways, Backrooms is best experienced unspoiled. It's a film that's destined to be dissected, debated and done to death with screenshots as online forums pore over every single visual clue and comment.

There's a distinctly unsettling edge to the 90s set story and visuals with found footage vibes meshing nicely with sly nods to the past, via way of Creepypasta-style dread and unease.

But it's a little obtuse at times, giving non-fans a workout in terms of what's happening. However, what proves to be most effective during the atmospheric film's unsettling aesthetic is the contortions of memory, the dread of empty space and the unending hum of lights buzzing away.

The liminal horror genre is prone to using slave to unsettle and Parsons peppers much of the environments with carefully disturbing imagery, a loop of visuals and mirror images twisting what you see.

Like the first Paranormal Activity film where the home camera swept from side to side, Parsons makes great fist of his spatial sets and unending corridors with shadowy elements lurking in the background. It's easy to see where Severance got its inspiration from.

But while the visuals provide the nightmare fuel, both Eijofor and Reinsve tap into the existential dread of their characters with ease, even if direct answers aren't coming and opacity clouds proceedings.

For Reinsve's therapist,it's looping memories of the loss of the family home that rattle her carefully structured solo world. And for Eijofor's Clark, it's the frustration of how his life went from architect to crummy furniture salesman, left by his wife.

If Parsons does much to expand his shorts series, it's by design. A slow burn throughout builds up to very little, but with mono-yellow vistas and droning hums if lights, the film's high on its own atmosphere.

But by focusing on just two characters and placing them in worlds that challenge their beliefs, he creates a vision that's deeply haunting and one which will never allow you in future to look at an empty corridor without some kind of dread.