The 25 Best New Movies to Stream in October 2022

From spooky delights to delightful romps and beyond

It’s not just horror movies that are new to streaming in October — although there are plenty of spooky films arriving on various streaming services this month that’ll help you get into the Halloween spirit. The selection of new titles on Netflix, Prime Video, Hulu, Disney+, HBO Max and Paramount+ this month ranges from traditional horror films to fantasy romps to perfectly pleasant period pieces. Below, we’ve rounded up some of the best movies new to streaming in October to help you narrow down your viewing options. There’s a new “Hellraiser” movie, the final entry in the latest iteration of the “Halloween” franchise and even a black-and-white werewolf TV special from Marvel Studios — oh my!

Take a look through our picks below.


Paramount Pictures

October 1, Paramount+

Filmmaker Alex Garland has made a habit out of putting a thoughtful (and unsettling) spin on genre, from writing “28 Days Later” and “Dredd” to directing “Ex Machina.” But his 2018 film “Annihilation” may be the weirdest of them all in the best way. The psychological horror film stars Natalie Portman as a biologist who is tasked with joining a team to go into a mysterious area known as “the Shimmer.” Her husband previously entered this area, disappeared and then returned home… different. What she and others encounter in the Shimmer is far from expected, building to one of the most unforgettable finales of all time. – Adam Chitwood

Jennifer’s Body

20th Century Fox

October 1, Paramount+ and Prime Video

If underrated and/or misunderstood gems are more your speed, check out “Jennifer’s Body.” This darkly comic 2009 film hails from Oscar-winning “Juno” writer Diablo Cody and “The Invitation” director Karyn Kusama, and tells the story of a popular high school girl who is abducted and ritualistically sacrificed which turns her into a demonic force that feeds on young teenaged boys. While marketed as a teen horror film, “Jennifer’s Body” is actually a smart take on the male gaze and sexuality through the lens of two talented female filmmakers. Megan Fox, Amanda Seyfried, and J.K. Simmons star. – Adam Chitwood

Shutter Island

Leonardo DiCaprio and Mark Ruffalo in “Shutter Island” (Paramount Pictures)

October 1, Paramount+ and Prime Video

Leonardo DiCaprio and filmmaker Martin Scorsese reunited for the third time in their career for the 2010 thriller “Shutter Island,” based on the book by Denis Lehane. This is a classic psychological thriller told by a master filmmaker, as DiCaprio and Mark Ruffalo play 1950s U.S. Marshals dispatched to a facility for the criminally insane to investigate the disappearance of a woman who drowned her three children. This is visually striking but also haunting – it’s as close as Scorsese has come to a true horror movie, and it packs a whopper of a twist ending. – Adam Chitwood

Call Me By Your Name

Sony Pictures Classics

October 1, Netflix

“Call Me by Your Name” is one of the most romantic, immersive love stories in recent memory, which makes it all the more frustrating that the film has been somewhat tarnished by troubling allegations against star Armie Hammer. But judging this as a film on its own merits, director Luca Guadagnino conjures a sensual, compassionate story of a young man (played by Timothee Chalamet) who comes of age while vacationing with his family in Italy and falls in love with a student (Hammer) who’s come to study with his father (Michael Stuhlbarg). This movie makes you feel like you’re falling in love, and boasts not one but two new original songs by Sufjan Stevens. – Adam Chitwood


Universal Pictures

October 1, Netflix

Ridley Scott’s historical epic “Gladiator” more than holds up over two decades later. Massive in scope but intimate in stakes, Russell Crowe stars as a Roman General who is ousted when the Emperor is killed by his own son (Joaquin Phoenix). His family is murdered and he’s exiled to become a gladiator, fighting to sport. He claws his way back to Rome, fighting in front of the man who ruined his life. Entertainment – and some incredible acting – ensues. Hans Zimmer’s score also rules. – Adam Chitwood


TriStar Pictures

October 1, Netflix

“Labyrinth,” Jim Henson’s unfairly maligned musical fantasy, was released back in 1986. And it still packs a punch. A young Jennifer Connelly stars as Sarah, a teenage girl who is stuck babysitting her infant brother. On her watch he’s kidnapped by goblins, leading her into a fantastical realm within the titular, monster-filled maze. Much of the fun of “Labyrinth” comes from watching David Bowie play the king of the goblins – a limber, sexually suggestive phantom who seduces and repels Sarah in equal measure. And above all of the visual razzle-dazzle, including some of the greatest, most convincing characters Henson and his Creature Shop ever dreamed up, it’s this weird subtextual stuff about a young girl’s coming-of-age and her accompanying sexual awakening, that give the movie its power all these years later. (If you haven’t seen it in a while, it’s really striking.) Come for “Magic Dance,” stay for a young girl coming under the romantic sway of a supernaturally powerful oddball. – Drew Taylor

The Ocean’s Trilogy

Warner Bros. Pictures

October 1, Netflix

Is there a more breezy, enjoyable, free-wheeling film trilogy than “Ocean’s Eleven?” Steven Soderbergh’s original film is a star-powered, hilarious heist that is an absolute blast to behold. But what makes this series so special is how different each subsequent film is. “Ocean’s Twelve” shifts locales to Europe, offering up a more European style of filmmaking and a meta-textual narrative about the pressure of following up the first film. And “Ocean’s Thirteen” is the “This Time It’s Personal” of the series, venturing back to Vegas with Al Pacino giving a go-for-broke performance as the antagonist. – Adam Chitwood


Open Road Films

October 1, HBO Max

If you’re in the mood for a dark thriller with a powerhouse lead performance, check out 2014’s “Nightcrawler.” Written and directed by Dan Gilroy, the film is a darkly comic look at the world of local news media, as Jake Gyllenhaal plays a stringer named Lou who records violent events and sells them to a local Los Angeles news station. But as Lou’s ambition grows, his motives become murky. The film certainly has shades of a modern “Taxi Driver” with Gyllenhaal delivering a transformative performance that gets under your skin. The whole thing is anchored by terrific co-starring turns by Renee Russo and Riz Ahmed. – Adam Chitwood

Popstar: Never Stop Never Stopping

Universal Pictures

October 1, HBO Max

One of the best and funniest comedies of the 21st century, full-stop, “Popstar: Never Stop Never Stopping” finds The Lonely Island putting their own twist on a “Spinal Tap”-style story. Andy Samberg stars as a Justin Bieber-esque pop star who used to be part of a three-person group in the vein of the Beastie Boys. “Popstar” is a mockumentary, following Samberg’s character on tour after the disastrous release of his new album. The laughs are plenty and hearty throughout, but the film is also a sweet story of friendship. And the songs – written and performed by The Lonely Island – are legitimate bops. – Adam Chitwood

The American President

Sony Pictures Releasing

October 1, HBO Max

Before Aaron Sorkin created “The West Wing,” he wrote a romantic comedy called “The American President.” You’ll find the bones of Sorkin’s acclaimed drama series within this film, but at heart this is a romance about a widowed president (played by Michael Douglas) who strikes up a relationship with a lobbyist (played by Annette Bening) and all the complications that ensue. This one’s funny, romantic and sharp. – Adam Chitwood

About Time

Universal Pictures

October 1, Hulu

“About Time” is great, but make sure you have tissues handy. From Richard Curtis, the filmmaker behind “Love, Actually” and “Pirate Radio,” this film is a time travel romantic comedy that’s not so secretly a father-son story. Domhnall Gleeson plays a man who learns from his father (played by Bill Nighy) that the men in their family have the ability to travel through time. He uses this power to perfect his courtship of a woman (played by Rachel McAdams), but in doing so discovers that his father’s time before his death is short. This is a grounded and emotional time travel story that’s as much about the time we have left as it is about the time that’s now behind us. – Adam Chitwood


Sony Pictures

October 1, Hulu

If you’re up for a sci-fi actioner with a smart script, check out “Knives Out” and “Star Wars: The Last Jedi” filmmaker Rian Johnson’s 2012 film “Looper.” Joseph Gordon-Levitt stars as an assassin who kills people who are sent back in time, thus hiding all the evidence. But when his older self (played by Bruce Willis) arrives one day, he hesitates, thus putting the two on a collision course with fate that involves a farmer played by Emily Blunt. – Adam Chitwood

A.I. Artificial Intelligence

DreamWorks Pictures

October 3, Paramount+

If it’s been awhile since you saw Steven Spielberg’s “A.I. Artificial Intelligence,” it’s well worth giving another shot. Originally conceived by Stanley Kubrick, Spielberg revived the project after Kubrick’s death and wrote and directed this tale of a young boy A.I. who is programmed to love and then abandoned by his adopted family. One part fairy tale and one part nightmare, this is one of Spielberg’s darkest films, with the director maintaining a heartbreaking emotional core throughout the young boy’s journey. Fair warning: If you’re a parent, have tissues at the ready. – Adam Chitwood

Catch Me If You Can


October 3, Paramount+

Low-key one of Steven Spielberg’s most personal films, 2002’s “Catch Me If You Can” finds Leonardo DiCaprio filling the role of a real-life con man who impersonated a pilot, doctor and lawyer all while still being a teenager. Tom Hanks plays the FBI agent hot on his trail, and Spielberg delights in chronicling the jet-set era of the 1960s. Like many of Spielberg’s films, divorce is a theme here, but unlike those other movies this one finds DiCaprio’s father (played by Christopher Walken) as the jilted one while his mother leaves to start a new family. This was rooted in Spielberg’s discovery late in life that his parents’ divorce was not, as he and his siblings were led to believe, because his father left, but instead because his mother fell in love with someone else and his father didn’t want the kids to blame her. In that way, “Catch Me If You Can” is something of a love letter to Spielberg’s own father after his string of “Bad Dad” movies like “E.T.” and “Indiana Jones and the Last Crusade.” – Adam Chitwood

The Indiana Jones Quadrilogy

ke huy quan harrison ford indiana jones and the temple of doom
Ke Huy Quan and Harrison Ford in “Indiana Jones and the Temple of Doom” (Paramount)

October 3, Paramount+

You can now stream the entire “Indiana Jones” franchise on Paramount+, although we recommend sticking with three. “Kingdom of the Crystal Skull” has some bright spots and is worth checking out if you’ve never seen it, but it’s far from the quality of the first three. “Raiders of the Lost Ark” is a masterpiece; “Temple of Doom” is one of the darkest films of Steven Spielberg’s career; and “Last Crusade” is an emotional romp of a father/son road trip story. This is one of the most rewatchable film franchises in history. – Adam Chitwood


Jamie Clayton in “Hellraiser” (Hulu)

October 7, Hulu

The new “Hellraiser” is good, actually! 11 films into this franchise, “The Ritual” and “The Night House” filmmaker David Bruckner puts a new spin on the series, turning the story of extradimensional beings who mistake pain for pleasure into a tale of addiction. Don’t worry, there’s still plenty of gore and incredible effects, but the emotional crux of this one makes it sing all the better. – Adam Chitwood

Marvel’s Werewolf by Night

Werewolf by Night Gael Garcia Bernal
Marvel Studios

October 7, Disney+

The Marvel Cinematic Universe is getting spooky. “Werewolf by Night,” a mid-sized movie (running about 53 minutes), follows the title character, who in human form is named Jack Russell (get it?) and portrayed by a charismatic Gael Garcia Bernal. Jack is summoned to a mysterious mansion with fellow monster hunters to track down the deadliest creature yet. But can he nab the beast without outing himself as a werewolf? That is the question! Deliberately throwback-y in both form and content, director Michael Giacchino purposefully replicates the look and feel of a classic 1940s Universal monster movie with black-and-white photography and a lush orchestral score (also composed by Giacchino). Could this be the opening of an entirely new corner of the Marvel Cinematic Universe or is this just a one-off experiment? Either way, it’s a ton of Halloween-y fun. – Drew Taylor

Catherine Called Birdy

Andrew Scott and Bella Ramsey in "Catherine Called Birdy" (2022)
Andrew Scott and Bella Ramsey in “Catherine Called Birdy” (Prime Video)

October 7, Prime Video

Filmmaker Lena Dunham adapts the Karen Cushman book “Catherine Called Birdy” for Prime Video, telling the 1290-set story of a young girl (played by “Game of Thrones” alum Bella Ramsey) who is about to be married off by her financially destitute father. But Birdy’s not inclined to do what she’s told, and her fierce independence puts her on a collision course with her parents. – Adam Chitwood

The Northman

Focus Features

October 11, Prime Video

How does a violent, Viking epic from the visionary director behind “The Witch” and “The Lighthouse” sound? The answer is “very cool,” and that’s exactly what you get with “The Northman.” The 2022 film stars Alexander Skarsgard as a Viking warrior prince seeking to avenge the murder of his father (played by Ethan Hawke). The film follows his quest with breathtaking vistas and a killer cast that includes Nicole Kidman, Anya Taylor-Joy, Willem Dafoe and Bjork (yes, that Bjork). – Adam Chitwood

Halloween Ends

Halloween Ends
Universal Pictures

October 14, Peacock

2018’s “Halloween” boldly did away with the cumbersome mythology of a series of so-so sequels and remakes, instead returning to the bedrock that made the 1978 original so special – chiefly, putting Jamie Lee Curtis in the lead role (she’s now older and embittered, but she’s still our Laurie Strode) and making the whole thing scary as hell. After the success of the 2018 movie, two sequels were quickly announced, forming a modern-day, stand-alone trilogy. “Halloween Kills,” initially slated for 2020, finally opened last year. And now we have the closer, “Halloween Ends.” It’s been four years since the events of ‘Kills’ and, for the most part, Haddonfield, Illinois has moved on. Laurie is living with her granddaughter (Andi Matichak) and attempting to let the trauma of her past dissipate. Easier said than done, especially when a loner with a past (Rohan Campbell) unknowingly awakens Michael Myers. This one takes some turns, but it feels like the appropriate end point for this run of “Halloween” films and a more emotional, grounded recalibration after the bloodbath that was “Halloween Kills.” Turn down the lights, pull up Peacock and turn the sound up. – Drew Taylor



October 14, Hulu

Are there ever enough “Romeo and Juliet” adaptations? The latest is described as “a fresh and comedic twist” on Shakespeare’s classic love story “as told from the perspective of Juliet’s cousin Rosaline (played by Kaitlyn Dever), who also happens to be Romeo’s recent love interest. Heartbroken when Romeo (Allen) meets Juliet (Merced) and begins to pursue her, Rosaline schemes to foil the famous romance and win back her guy. This one has a screenplay by Scott Neustader and Michael H. Weber, the duo behind “The Fault in Our Stars” and “(500) Days of Summer.” – Adam Chitwood

The School for Good and Evil

( L - R) Michelle Yeoh as Professor Anemone, Charlize Theron as Lady Lesso and Kerry Washington as Professor Dovey in "The School For Good And Evil" (2022)
Michelle Yeoh as Professor Anemone, Charlize Theron as Lady Lesso and Kerry Washington as Professor Dovey in The School For Good And Evil (Netflix)

October 19, Netflix

“Bridesmaids,” “Spy” and “Ghostbusters” filmmaker Paul Feig tries his hand at fantasy with the new Netflix original “The School for Good and Evil.” Based on the book of the same name by Soman Chainani, the story concerns two best friends — one into fairy tales, the other with a darker taste — who are whisked away for a literal school for Good and Evil. But when the two are mismatched — the “lighter” friend sent to the School for Evil and the “darker” friend sent to the School for Good — they try to figure out what’s amiss. – Adam Chitwood

Wendell & Wild

Wendell & Wild

October 28, Netflix

Henry Selick lives! The stop-motion filmmaker, responsible for perennial classic “The Nightmare Before Christmas,” hasn’t made a feature since 2009’s Oscar-nominated “Coraline.” But he’s finally back, with a brand-new feature, “Wendell & Wild,” produced, co-written and starring Jordan Peele. In the movie Peele and his longtime creative partner Keegan Michael-Key play a pair of demons who con their way into our world via their relationship with a young girl (Lyric Ross). Sort of a more diverse, more thoughtful version of “Beetlejuice,” “Wendell & Wild” is crafted with Selick’s trademark handcrafted ghoulishness (he says his movies “scare not scar”) and will undoubtedly become another Halloween classic. A 24-frames-per-second marvel. – Drew Taylor

Downton Abbey: A New Era

Focus Features

October 28, Prime Video

Pleasant is the name of the game when it comes to “Downton Abbey,” and if you missed the sequel film “Downton Abbey: A New Era” in theaters earlier this year, now’s your chance to watch it on streaming. The follow-up film finds a Hollywood crew setting up shop at the Abbey to film a major motion picture – and a silent film at that! – all the while a secret from the Dowager Countess’ (Maggie Smith) past threatens to come to the surface as she’s gifted a villa in the south of France. – Adam Chitwood

Crimes of the Future

New Cinema Enterprises

October 31, Hulu

David Cronenberg, at 79, is an elder statesman of body horror, the subgenre he helped pioneer with movies like “Scanners,” “The Brood” and his extra-slimy remake of “The Fly.” But, as “Crimes of the Future” proves, he can bring the goo. This movie, which shares a name with a short film from early in his career, images a perpetually crummy future where performance artists like Viggo Mortensen (one of Cronenberg’s closest collaborators in recent years) get surgery on stage for the amusement of an indifferent audience. (The movie’s tagline was “Surgery is the new sex.”) Everything in “Crimes of the Future” looks like shit – the actors are barely made up; the walls of the locations are cracked and crumbling; the photography muddy – and that’s part of the point. It’s all gone to hell. Cronenberg makes the most of his lo-fi dystopia and the performers (among them: Léa Seydoux, Kristen Stewart and, um, Scott Speedman) are clearly have the time of their life. This is a late-career masterwork, one that will crawl its way into your brain and wiggle around in there. It’s also got arguably the greatest final shot in movies this year. Eat up! – Drew Taylor