“12 Years a Slave”

Leaving: May 1

One of the finest Best Picture winners this century, “12 Years a Slave” is a gripping and moving historical epic directed by Steve McQueen and written by John Ridley. The film features a number of excellent performances, chief among them Chiwetel Ejiofor’s starring role as Solomon Northup and Lupita Nyong’o’s Oscar-winning turn as Patsey.

“Dawn of the Dead” (2004)

Leaving: May 1

Certain corners of the internet love to pit James Gunn and Zack Snyder against each other, the founding fathers of two iterations of a DC Comics cinematic universe. Fans of 2004’s “Dawn of the Dead” remake will know Snyder (who directed the film) and Gunn (who wrote it) actually work quite well together.

“Dawn of the Dead” doesn’t quite reach the same heights as George A. Romero’s 1978 classic by the same name, which features a group of survivors waiting out the zombie apocalypse in a mall. Still, it’s a tense and enjoyable revamp, and a worthy entry to the larger “Night of the Living Dead” franchise.

“Harry and the Hendersons”

Leaving: May 1

Goodbye, my friend.

“Harry and the Hendersons” asks audiences a bold, daring question: What if a family had a Bigfoot? John Lithgow and Melinda Dillon star in the film as George and Nancy Henderson, parents of two who stumble across the legend Sasquatch and welcome him as a member of their family. The makeup and prosthetics for the Bigfoot (appropriately named Harry) are exceptional, with an in-suit performance from Kevin Peter Hall and puppeteer team led by the legendary Rick Baker.

“Mission: Impossible — Rogue Nation”

Leaving: May 1

For years, the “Mission: Impossible” franchise refused to tie itself down to a single director. Brian De Palma, John Woo, J. J. Abrams and Brad Bird all took their turns directing “M:I” features before the fifth film, “Rogue Nation,” gave Christopher McQuarrie the keys. While it’s fun to imagine where the series would be today if it kept its unofficial “one film only” rule, McQuarrie’s opening statement immediately proved that the franchise would remain in good hands.

“Rogue Nation” is one of the strongest action films of the century, a perfect machine of stunts, set pieces and exhilaration. The opera sequence, underwater mission and motorcycle chase are high points for this incredible action franchise — as is the “Living manifestation of destiny” speech in a pitch -perfect performance from Alec Baldwin.

“Pig”

Leaving: May 26

The Nicolas Cage-aissance probably started around 2018, with Panos Cosmatos’ “Mandy” (alongside two well-timed animated performances in “Spider-Man: Into the Spider-Verse” and “Teen Titans Go! To the Movies”) showing some non-believers that Cage does, indeed, have the juice. This was later solidified in Michael Sarnoski’s 2021 drama “Pig,” where Cage delivers one of the quietest — and best — performances of his career.

“Pig” is an odd film, one that starts off as a seeming “John Wick”-type vehicle and eventually reveals itself as something far more downbeat. It builds to an emotional finale, one that Cage destroys — just as he’s destroying any doubt that he is and has always been an exceptional performer.

“Sing Street”

Leaving: May 9

Before John Carney returns to theaters in May with the Paul Rudd/Nick Jonas comedy “Power Ballad,” be sure to check out Carney’s fantastic 2016 feature “Sing Street.” The film follows a young man (Ferdia Walsh-Peelo) who starts a band at his new school to impress his crush (Lucy Boynton) before genuinely falling in love with the music.

The songs of “Sing Street” are phenomenal, as is the coming-of-age story at its center. The film also features an outstanding breakout performance from Jack Reynor, who will reunite with Carney for “Power Ballad” and was most recently seen as Lee Cronin’s The Mummy’s Dad.

“Train to Busan”

Leaving: May 2

“Dawn of the Dead” isn’t the only zombie movie leaving Netflix in May. Written by Park Joo-suk, Yeon Sang-ho’s “Train to Busan” quickly established itself as one of the subgenre’s greatest films, an intense and emotional zombie story set almost entirely on a high-speed train during the beginning of an outbreak. The film never feels limited by its single setting, instead using that claustrophobia entirely to its advantage.