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Netflix Officially Loses Tom Hanks’ Most Beloved Streaming Gem

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Tom Hanks is never far from a box office hit. This year, the Hollywood veteran has already delivered one of the highest-grossing blockbusters in the form of Toy Story 5. Woody, Buzz (Tim Allen), and Jessie (Joan Cusack) returned with the rest of the toys to great success, returning Pixar’s biggest franchise to their best after a disappointing Toy Story 4. Called “a necessary response to how much the world has changed in the past three decades” by Collider’s Taylor Gates in her review, the film stole hearts and earned heaps in ticket sales, becoming one of 2026’s first billion-dollar hits.

Hanks’ recent filmography has been somewhat hit-and-miss, with reactions to his performances far from his unstoppable run of masterclasses in the 1990s. But among his recent performances, one stands out as a true gem in the latter career of the two-time Academy Award winner. Hanks’ performance as the beloved children’s entertainer Fred Rogers in A Beautiful Day in the Neighborhood earned widespread acclaim after it debuted in 2019. The film also starred Matthew Rhys, who recently made Emmys history as the first actor ever to win two lead acting prizes in a single night (for Widow’s Bay and The Beast in Me).

Inspired by the 1998 Esquire article “Can You Say … Hero?” by Tom Junod, A Beautiful Day in the Neighborhood was an undeniable hit with critics, even earning Hanks a Best Supporting Actor nomination at the Academy Awards, which was his first Oscar nomination since 2000’s Cast Away and his last to date. Hanks also earned recognition from the Golden Globes, Screen Actors Guild Awards, BAFTAs, and more for this heartwarming, pitch-perfect performance, which anchors a film sure to bring a smile to anyone’s face. But if you want that smile on your own face, you’ll have to hurry, as A Beautiful Day in the Neighborhood is being removed from the Netflix catalog on October 1, 2026.

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Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?

Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country

Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.

🪜Parasite

🌀Everything Everywhere

☢️Oppenheimer

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🐦Birdman

🪙No Country for Old Men

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01

What kind of film experience do you actually want?
The best movies don’t just entertain — they leave something behind.





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02

Which idea grabs you most in a film?
Great films are driven by a central obsession. What’s yours?





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03

How do you like your story told?
Form is content. The way a story is shaped changes what it means.





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04

What makes a truly great antagonist?
The opposition defines the protagonist. What kind of opposition fascinates you?





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05

What do you want from a film’s ending?
The final note is the one that lingers. What do you want it to sound like?





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06

Which setting pulls you in most?
Where a film takes place shapes everything — mood, stakes, what’s even possible.





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07

What cinematic craft impresses you most?
Every great film has a signature — a technical or artistic element that makes it unmistakable.





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08

What kind of main character do you root for?
The protagonist is the lens. Who you choose to follow says something about you.





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09

How do you feel about a film that takes its time?
Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.





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10

What do you want to feel walking out of the cinema?
The best films leave a mark. What kind of mark do you want?





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The Academy Has Decided
Your Perfect Film Is…

Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.

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Parasite

You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.

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Everything Everywhere All at Once

You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.

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Oppenheimer

You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.

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Birdman

You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.

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No Country for Old Men

You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.

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‘A Beautiful Day in the Neighborhood’ Underwhelmed at the Box Office

Despite receiving plenty of positive critical praise and featuring the best of Hanks in recent years, A Beautiful Day in the Neighborhood failed to make a positive impact at the box office. Against a reported production budget of $45 million, the film earned a global haul of just $68 million worldwide, split between $61 million in domestic revenue and a further $7 million from overseas markets.

A Beautiful Day in the Neighborhood is being removed from the Netflix catalog on October 1, 2026. Stay tuned to Collider for more streaming stories.


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Release Date

November 22, 2019

Runtime

107 Minutes

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