Fore! Happy Gilmore is one of 5 movies leaving Netflix that you have to watch (July 2025)
Happy Gilmore is only one of the top movies leaving in July. We spotlighted an entire group of films exiting the service soon, so make sure to watch them now before it's too late.
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We also have guides to the best new movies to stream, the best movies on Netflix, the best movies on Hulu, the best movies on Amazon Prime Video, the best movies on HBO Max, and the best movies on Disney+.
The Place Beyond the Pines (2012)
Derek Cianfrance makes movies for the sad boys. His films typically revolve around the complicated relationships we share with our significant others and family. Cianfrance recruited Ryan Gosling and Bradley Cooper to play his brooding men in The Place Beyond the Pines. In upstate New York, Luke (Gosling) is a stunt driver turned bank robber who hopes to provide a life for his estranged son.
Avery (Cooper) is a rookie police officer trying to make a name for himself. A chance meeting between Luke and Avery changes the trajectory of their lives, and the decisions made that day will affect each of their sons. Be prepared to call your parents after watching this moving epic.
Stream The Place Beyond the Pines on Netflix.
The Town (2010)
It's fitting that Ben Affleck, one of Boston's most recognizable faces, played an integral part in two of the city's pantheon movies: Good Will Hunting and The Town. Affleck directed the latter in the middle of his career comeback. In Charlestown, Boston, Doug MacRay (Ben Affleck) and his friends — Jem Coughlin (Jeremy Renner), Albert 'Gloansy' MacGloan (Slaine), and Desmond 'Dez' Elden (Owen Burke) — rob banks in the surrounding area for a local gangster. During one of the holdups, the group takes a hostage, Claire Keesey (Rebecca Hall), but lets her go unharmed.
Later on, Doug — who wore a mask during the robbery to protect his identity — meets with Claire to learn what she knows about the robbers. He ends up falling in love with her and tries to escape his criminal past. Easier said than done, especially when Doug's employer threatens to hurt Claire.
Stream The Town on Netflix.
Happy Gilmore (1996)
This month marks the arrival of Happy Gilmore 2, the highly anticipated sequel featuring Sandler's rambunctious hockey player who surprisingly became a professional golfer. Unfortunately, Happy Gilmore is leaving the service at the end of the month, right as the sequel premieres. Start your rewatches now before it's too late.
Happy Gilmore (Sandler) dreams of becoming a successful hockey player. However, Happy doesn't possess the skills to thrive on the ice, forcing him to find a new career path. When his grandmother's house faces foreclosure, Happy capitalizes on his gift — driving a golf ball over 400 yards — by attempting to make it on the PGA Tour. While Happy's skills have what it takes to hang, his temper and unorthodox style might get him kicked off before he ever plays.
Stream Happy Gilmore on Netflix.
Dunkirk (2017)
Does Christopher Nolan make Oppenheimer without the success of Dunkirk? It's hard to tell. However, Dunkirk clearly scratched Nolan's World War II itch, one that would lead to his Oscar-winning epic in 2023. Based on the famous operation in WWII, Dunkirk follows a group of Allied forces attempting to escape the beaches of Dunkirk.
Using a nonlinear narrative, Nolan depicts the evacuation on three battlefronts: air, land, and sea. The soldiers race towards freedom across the English Channel as the movie unfolds with a sense of urgency. With a rapid 106-minute runtime, Dunkirk proves Nolan has the goods to deliver an epic spectacle that's deeply moving and thrilling.
Stream Dunkirk on Netflix.
Dawn of the Dead (2004)
The last two directors to helm live-action Superman movies are James Gunn and Zack Snyder. Back in 2004, the two filmmakers collaborated on the remake of Dawn of the Dead, with Gunn penning the script and Snyder directing. In the Milwaukee area, a zombie outbreak decimates the population. Ana (Sarah Polley) and a group of survivors manage to find shelter in a local mall.
As the group learns more about the zombies' habits, they determine that the only way to ensure survival is to escape the city on a boat. With Gunn's witty humor and Snyder's fast-paced action, Dawn of the Dead is a remake that stands out and justifies its existence. It also makes you wonder what would have happened to Snyder's DC Extended Universe if Gunn wrote the scripts.
Stream Dawn of the Dead on Netflix.
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Wordle hints today for #1,507: Clues and answer for Monday, August 4
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The New York Times thinks generative AI is like Pac-Man ghosts and also the Matrix, because nobody gets to be normal about this stuff anymore
When you buy through links on our articles, Future and its syndication partners may earn a commission. The New York Times is being hazed by game dev social media over what I can only describe as one of the most naive articles about AI I've ever seen. The pointing and laughing is happening on BlueSky, among other places, over a paragraph that claims generative AI is being embraced by the videogame industry, which sure, makes sense, because we were giving those funny Pac-Man ghosts AIs in the past. And isn't that the same thing? No. No it's not—though being wary of simply taking a lone paragraph out of context, I went ahead and read the full thing. It does not get much better. Get out your bingo cards. The piece immerses us into a nice balmy pot of misunderstanding soup with the sentence "It sounds like a thought experiment conjured by René Descartes for the 21st century." Hoo boy. Its writer, Zachary Small, then goes on to reference this video that went viral a couple of years ago, wherein a YouTuber gets proportionately freaked out as generative AI NPCs start getting a bit existential in a tech demo by Replica. I'd link to Replica's website, but the company doesn't exist anymore which, to be fair, the article does acknowledge several paragraphs down. The NYT frames this as some kind of brush with the machine god: "Everything was fake, a player told them through a microphone, and they were simply lines of code meant to embellish a virtual world. Empowered by generative artificial intelligence like ChatGPT, the characters responded in panicked disbelief. 'What does that mean,' said one woman in a gray sweater. 'Am I real or not?'" This sort of open-mouthed astonishment might've been apropos three years ago, when all of this tech was still relatively new, but AI doesn't actually think or understand anything. It didn't then, and it doesn't now. Here's a solid breakdown by MIT from the time period, which explains: "In this huge corpus of text, words and sentences appear in sequences with certain dependencies. This recurrence helps the model understand how to cut text into statistical chunks that have some predictability. It learns the patterns of these blocks of text and uses this knowledge to propose what might come next." In other words, what we might call an 'educated guess'. Replica's AI was trained on text written by people, and people have written about machines becoming self-aware before, which is why the NPCs spat out lines about being self-aware when they were told they were machines. This is like saying Google is sapient because it fed me a link to Isaac Asimov's I, Robot when I searched for it: A program taking educated guesses does not a singularity make. To be clear, generative AI has been having a major impact on videogames—both in the fact that there are legitimate use-cases being found, and in the fact that excitable CEOs are getting ahead of themselves and mandating employees use it, which is totally a normal thing you do with a technology you're naturally finding use cases for. The paragraph that active developers are dunking on, however, is this doozy: "Most experts acknowledge that a takeover by artificial intelligence is coming for the video game industry within the next five years, and executives have already started preparing to restructure their companies in anticipation. After all, it was one of the first sectors to deploy AI programming in the 1980s, with the four ghosts who chase Pac-Man each responding differently to the player's real-time movements." I'm just gonna rattle off the problems with this statement one-by-one. First up, which experts? Sure, Nvidia's CEO says AI is coming for everybody's jobs, but also, it's sort of his job to sell AI technology. You know who else said we'd all have to adapt to AI? Netflix's former VP of GenAI for Games, who stopped working there four months later. CEO of Larian Studios Swen Vincke (note: someone who actually makes games) isn't nearly as convinced—while the developer does use generative AI for the early, early stages of prototyping, basically anything thereafter is made by hand. CD Projekt is also steering clear, because the quagmire of legal ownership just isn't worth it. Some executives have done some restructuring that may or may not be related to AI—I certainly don't doubt that AI plays a part, but widespread layoffs and studio closures are also down to, say, buying a company for $68 billion, or flubbing a $2 billion investment deal. You know. CEO things. And then there's the coup de grâce on this lump of coal—the comparison to the ghosts in Pac-Man, as if that has anything to do with anything. No, the programming of Pac-Man's ghosts has nothing to do with generative AI or deep learning models, a completely different technology. Tōru Iwatani, a person, gave them their distinct 'personalities'. "We're gonna be making our games differently, but to say that it'll replace the craftsmanship? I think we're very far from it." Larian CEO Swen Vincke (GameSpot interview, April 2025) To be clear, this is about as relevant as saying the videogame industry's adopting AI because Crazy Taxi had a pointing arrow in it that leads to your next objective—it's a loose association by someone who saw the word "AI" twice and assumed those things must be related. I could continue ribbing on this thing. For example, there's a one-two punch where Small references fretting over gen AI npcs "dying" when a game gets shut down as developers "forgoing those moral questions in their presentations to studio executives," then proceeds to talk about how Sony made an AI Aloy without also noting that the character's voice actor, Ashley Burch, found the whole thing repulsive. It also happens to suggest that using "AI programs to complete repetitive tasks like placing barrels throughout a virtual village" is novel, when procedural generations have existed for years (and in fact might be a more apt comparison, if we're going to draw a line from point A to point B). But I think what's really telling is how noncommittal the answers Small receives are. Microsoft's response was the most gung-ho, though it still clarified that "Game creators will always be the center of our overall AI efforts". Nintendo pointed Small in the direction of its prior statements, wherein the company said "would rather go in a different direction". Even the experts at companies Small quotes are downright tepid, often pointing towards cost and realistic expectations for the things he says are just five years around the corner. Look—generative AI's gonna have, and already has had, an impact on game development, and will be used inside of it. But I would implore both the writers at the NYT, and just about anyone else, to apply a little bit of skepticism before you believe claims that these models are forming relationships, inventing art styles, or becoming self-aware. That's not how this works. That's not how any of this works.
