The pros and cons of Netflix in general can be debated until one’s fingers tire out, but I’m only interested right now in discussing the vast number of movies that have popped up on the streaming Watch Instantly area that are not otherwise available to watch on DVD in R1. Some are in the wrong aspect ratio, especially the ones coming from Starz, but most are of acceptable quality and OAR. Here’s a good list I’ve made of movies of note that can currently only be seen in the U.S. by using the Netflix streaming service, which comes free with any by-mail subscription. It’s chronological, with the director’s full name included. I’ll try to update as necessary.

Blithe Spirit (David Lean, 1945)

The Strange Affair of Uncle Harry (Robert Siodmak, 1945)

Diary of a Chambermaid (Jean Renoir, 1946)

Odd Man Out (Carol Reed, 1947)

The Other Love (Andre de Toth, 1947)

I Walk Alone (Byron Haskin, 1948)

Moonrise (Frank Borzage, 1948)

Caught (Max Ophuls, 1949)

No Man of Her Own (Mitchell Leisen, 1950)

The Big Night (Joseph Losey, 1951)

The Bullfighter and the Lady (Budd Boetticher, 1951)

Cry Danger (Robert Parrish, 1951)

Hard, Fast, and Beautiful (Ida Lupino, 1951)

The Mating Season (Mitchell Leisen, 1951)

The Captive City (Robert Wise, 1952)

Horizons West (Budd Boetticher, 1952)

The Turning Point (William Dieterle, 1952)

Cry Vengeance (Mark Stevens, 1954)

Private Hell 36 (Don Siegel, 1954)

Run for Cover (Nicholas Ray, 1955)

Strategic Air Command (Anthony Mann, 1955)

China Gate (Samuel Fuller, 1957)

He Who Must Die (Jules Dassin, 1957)

Hidden Fear (Andre De Toth, 1957)

Short Cut to Hell (James Cagney, 1957)

The Savage Innocents (Nicholas Ray, 1960)

Phaedra (Jules Dassin, 1962)

A Child Is Waiting (John Cassavetes, 1963)

Lord Jim (Richard Brooks, 1965)

Redline 7000 (Howard Hawks, 1965)

Cul-de-sac (Roman Polanski, 1966)

The Group (Sidney Lumet, 1966)

The Climax (Pietro Germi, 1967)

Hurry Sundown (Otto Preminger, 1967)

Up Tight! (Jules Dassin, 1968)

The Happy Ending (Richard Brooks, 1969)

10 Rillington Place (Richard Fleischer, 1970)

The Landlord (Hal Ashby, 1970)

Leo the Last (John Boorman, 1970)

Born to Win (Ivan Passer, 1971)

The Heartbreak Kid (Elaine May, 1972)

The Offence (Sidney Lumet, 1973)

Busting (Peter Hyams, 1974)

The Spikes Gang (Richard Fleischer, 1974)

The Context [Illustrious Corpses] (Francesco Rosi, 1976)

Drum (Steve Carver, 1976)

Looking for Mr. Goodbar (Richard Brooks, 1977)

That Sinking Feeling (Bill Forsyth, 1980)

The Keep (Michael Mann, 1983)

Garbo Talks (Sidney Lumet, 1984)