If you’re looking for new movies to watch, you’ve come to the right place. February is here, and with it comes a bevy of new films added to your favorite streamers. It’s a lot to sift through, so we’ve gone through and put together a curated list of the best new movies streaming on Netflix, Prime Video, HBO Max, Paramount+, Apple TV and beyond this month. That includes new-to-streaming movies like “Predator: Badlands” and “Blue Moon,” noteworthy library titles like the “Ghostbusters” franchise and underseen indies that you’ve maybe never even heard of.
Check out our list of the top new movies streaming right now below.
5 New Shows to Stream This Week
“Hurry Up Tomorrow”
Starz – Feb. 1
If you didn’t see “Hurry Up Tomorrow,” The Weeknd’s attempt at a feature-length narrative tie-in to his album of his 2025 same name, don’t worry – very few people did. (It only made $7.8 million on a budget of $15 million.) Now is your time. The film, which costars Jenna Ortega and Barry Keoghan, was co-written, edited and directed by the extremely talented Trey Edward Shults, who made “Waves” and “It Comes At Night.” But the plotting of “Hurry Up Tomorrow,” which follows the Weeknd playing a lightly fictionalized version of himself, who winds up falling in love with a girl (Ortega) and seeing reality slip away. It is alternately captivating and tedious, beautifully shot but also somewhat banal. If you’re a Weeknd die-hard, you probably owe it to yourself to watch. He probably thought he was making his own “Purple Rain.” But it’s more like his “Graffiti Bridge.”
“Us”
Paramount+ – Feb. 1
As we wait, somewhat impatiently, for Jordan Peele’s fourth feature as a director to be assigned a proper release date, why not revisit perhaps his second movie as a writer/director, “Us.” Peele avoids the sophomore slump after the terrific, terrifying “Get Out,” this time focusing on a young family (led by Winston Duke and Lupita Nyong’o, in an Oscar-worthy performance), who, while on a vacation to their beach house, encounter home invaders that look suspiciously like them. These doppelgängers (dubbed The Tethered) are looking to replace the family, which leads to some very violent encounters, leading to some shocking revelations. Peele synthesizes countless pop culture references – everything from “Lost Boys” to “C.H.U.D.” to the dopey Hands Across America fundraising event – into a wholly unique, singularly iconic and deeply disturbing vision. It might be Peele’s best film, full of wild tangents and hilarious asides, anchored by Nyong’o’s perfect, deeply felt performance. “Get Out” might have established Peele as one of our most exciting new filmmakers but “Us” cemented him as a generational visionary. Now can we please have movie 4?
“Face/Off”
Paramount+ – Feb. 1
John Woo is having a moment. Most of his early classics have been rescued from obscurity and re-released in beautiful 4K UHD editions. And as audiences rediscover his Hong Kong output, they are likely to find a new appreciation for “Face/Off,” which translated his trademark style to a big budget Hollywood blockbuster with shocking fidelity. In “Face/Off” John Travolta plays a dogged FBI agent on the hunt of a terrorist (played by Nicolas Cage). When Cage winds up in a coma and a bomb that he’s planted is set to go off, Travolta undergoes an experimental surgery which will swap is face for Cage’s. Of course, Cage wakes up, takes Travolta’s face, and the whole thing goes sideways. Part of the fun of “Face/Off” is watching each performer play the other, adapting their mannerisms and tics. But the star of the show is obviously Woo’s spectacular set pieces – from an apartment shootout set to “Over the Rainbow” (performed by Olivia Newton-John) to a climactic speedboat chase to the opening airplane hanger showdown. It’s a beautiful symphony of violence, choreographed as only Woo could. At the time it was unlike anything most American audiences had ever seen. It still feels a little bit dangerous today.
“Ghostbusters” and “Ghostbusters II”
Hulu – Feb. 1
Who ya gonna call? When Ivan Reitman’s “Ghostbusters” arrived in 1984, it was unlike anything anybody had ever seen. Toplined by some of comedy’s biggest names (Bill Murray, Harold Ramis, Dan Aykroyd and Rick Moranis) but featuring real emotional heft (thanks to a very dialed-in Sigourney Weaver) and sophisticated horror elements (with visual effects from “Star Wars” veteran Richard Edlund), it was a tonal tightrope walk that is accomplished with aplomb. It was a huge hit. People were singing the theme song in the theater. And it was a massive undertaking to get everybody back for the sequel, 1989’s “Ghostbusters II.” The magic had diminished but there are still some fun to be had. The “Ghostbusters” movies are like pizza – even when they’re bad, they’re still pretty good.
“The Golden Child”
Paramount+ – Feb. 1
If you feel like you’ve seen every high-concept supernatural action comedy starring a 1980’s mega-star, have we got the movie for you. “The Golden Child,” directed by Michael Ritchie, the journeyman filmmaker behind “The Candidate” and “The Bad News Bears,” stars Eddie Murphy as a private eye specializing in lost children. But his latest case is a doozy, as he’s tracked with finding a Tibetan boy kidnapped by sinister forces (led by a menacing Charles Dance). Murphy does a lot of solid mugging, occasionally interacting with stop-motion creatures and other dangerous foes. John Carpenter flirted with directing “The Golden Child,” instead opting for the similar (but much, much better) “Big Trouble in Little China.” Still – if you’ve never seen “The Golden Child” or want an adrenalized shot of 1980’s nostalgia, you could do a lot worse on a Friday night.
“Unstoppable”
Hulu – Feb. 1
Tony Scott’s last film before his tragic suicide in 2012 is also one of his very best. In “Unstoppable” Denzel Washington plays an old school railroad engineer, who just so happens to be training his young replacement (Chris Pine) on the same day that a toxic cargo train has become – you guessed it! – unstoppable. One of the most thrilling action movies you’re ever likely to see, the movie’s brisk 98 minute runtime flies by without Scott ever pumping the breaks. It’s full of breathless set pieces and fine, flinty supporting performances from Rosario Dawson, T.J. Miller, Kevin Dunn, Kevin Corrigan and Ethan Suplee, all of which add to the movie’s blue-collar charm. “Unstoppable” should be talked about in the same breath as edge-of-your-seat classics like William Friedkin’s “Sorcerer.” And while the tide might be turning on this one, with Quentin Tarantino recently discussing it as one of his favorites on an episode of “The Rewatchables,” it has yet to be truly canonized. It’s long overdue.
“Robocop” Franchise
Prime Video – Feb. 1
The entire “RoboCop” franchise is arriving on Prime Video. Are you ready for it? Paul Verhoeven’s original “RoboCop” (released in 1987) was a satirical masterpiece that was also one of the most viscerally satisfying action movies of the 1980s. Its sequel, 1990’s “RoboCop 2,” tried to replicate the formula but without Verhoeven’s deft touch (he was replaced with “The Empire Strikes Back” director Irvin Kershner), things often tip towards the silly or, in the case of the movie’s occasionally shocking ultra-violence, profane. Still, it has some wonderful visual effects courtesy of stop-motion pioneer Phil Tippett, who also provided an all-timer of a robot design in the titular “upgrade,” made from the brain of a drug addicted murderer named Cain (played by Tom Noonan).
1993’s “RoboCop 3” has little of the DNA that made the first two films so special, including RoboCop himself, with Peter Weller leaving, replaced by Robert Burke. It was also delayed due to financial difficulties and was rated PG-13, a severe softening to the movie’s nearly NC-17-rated charms. The remake, released in 2014 and directed by Brazilian filmmaker José Padilha, is somewhat underrated, with a terrific cast (Joel Kinnaman, Gary Oldman, Michael Keaton, Samuel L. Jackson, Michael K. Williams and more) and some impressive visual effects. While the remake was PG-13, it still had a satirical edge, attuned to the modern anxieties about foreign wars and drone strikes. Honestly, you could do worse than marathoning these four movies. Have a Robo-good time!
“The Adventures of Buckaroo Banzai Across the 8th Dimension”
Prime Video – Feb. 1
One of the essential cult artifacts of the 1980s, “The Adventures of Buckaroo Banzai Across the 8th Dimension” follows our title character, a scientist, daredevil and rock’n’roll star (his band is called the Hong Kong Cavaliers), played by the great Peter Weller, who must save the world from a band of evil, interdimensional aliens. You know, that old story. Directed by the great W.D. Richter, who wrote the 1978 “Invasion of the Body Snatchers” and would, a couple of years after “Buckaroo Banzai,” pen “Big Trouble in Little China” for John Carpenter, he has an uncanny understanding of tone and character, which makes this movie come alive. Sure, it’s goofy and silly and fun but it’s also incredibly endearing. If you aren’t smiling ear-to-ear by the time the final credits roll, which feature the members of the Hong Kong Cavaliers walking through Los Angeles’ river basin to the sounds of Michael Boddicker’s rollicking score, you might be dead. Or some kind of alien in disguise.
“Ella McCay”
Hulu – Feb. 5
James L. Brooks’ first film in 15 years bombed pretty hard in theaters this December (it made $4.5 million worldwide), but perhaps the time is right for a streaming resurgence. The film stars Emma Mackey as the lieutenant governor of an unnamed state who struggles to balance her personal and professional life against the backdrop of politics. As usual, the “Broadcast News” and “Terms of Endearment” filmmaker assembles a top-notch ensemble cast that includes Albert Brooks, Jamie Lee Curtis, Ayo Edebiri, Woody Harrelson and Rebecca Hall.
The Best Movies of 2025
“Boys Go to Jupiter”
HBO Max – Feb. 6
One of last year’s most charming animated features, “Boys Go to Jupiter” was written and directed by Julian Glander, an artist and videogame designer with a sensibility and style his own. “Boys Go to Jupiter” was animated by a small crew, including by Glander himself, and follows a suburban teenager named Billy 5000 (voiced by Jack Corbett), who gets a job at a food delivery service, in order to move out of his sister’s home. Between Glander’s insightful commentary on the gig economy and the truly one-of-a-kind animation style, which incorporates elements from early CGI and turn-of-the-millennium aesthetics, “Boys Go to Jupiter” is a beguiling experience. Plus, it’s got the hippest voice cast maybe ever, with Janeane Garofalo, Tavi Gevinson, Julio Torres, Sarah Sherman, Eva Victor and Joe Pera, among many others.
“Queen of Chess”
Netflix – Feb. 6
According to the synopsis for this new sports documentary, in 1989 “a 12-year-old Hungarian prodigy named Judit Polgár embarked on a David-and-Goliath mission to become the top chess player of her generation, which meant going up against men who thought that women — never mind young girls like her — could never be truly great at chess. In particular, Judit had her eyes set on besting the top-ranked Garry Kasparov, whom some consider the greatest player of all time. What followed was a 13-year saga of thrilling wins, petulant opponents, dramatic showdowns, and surprising friendships as Judit charged toward her goal.” “Queen of Chess,” which just premiered at the Sundance Film Festival, fits nicely into the Netflix ecosystem with their blockbuster series “The Queen’s Gambit.” Because when you think “chess,” you think “Netflix.”
“Splitsville”
Hulu – Feb. 6
If you’re looking for a rom-com that’s slightly left of center, check out “Splitsville” when it hits Hulu this month. Co-written, directed by and starring Michael Angelo Covino, the film follows a couple (Adria Arjona and Kyle Marvin) whose relationship is on the outs, and who get a boost when they discover their friends (Dakota Johnson and Covino) have an open marriage. It’s incredibly funny, but also sweet and quietly sad.
“How to Train Your Dragon” (2025)
Netflix – Feb. 10
As the recent Disney live-action remakes have reminded us, the transition from an animated story to one with flesh-and-blood characters can be a mixed bag. But “How to Train Your Dragon,” based on the DreamWorks Animation film of the same name, is arguably the best of the bunch – it’s fidelity to the original material is unimpeachable, making minor tweaks and adjustments while retaining the essence of made the first one so special. But it also embraces live-action in a full-bodied way that makes the story more dangerous, more romantic and more tactile – you can feel the world in a way that you never could before. The story of young Hiccup (Mason Thames), a teenage Viking who befriends an injured dragon, to the chagrin of his dragon-hating community, has even more poeticism and poignancy in live-action, with some truly dazzling visual effects and a new score by the returning John Powell, that will leave you breathless. If you missed this in the theaters last year, time to correct that mistake. The live-action remake of the second animated film is out next summer. Be prepared.
“The Pope’s Exorcist”
HBO Max – Feb. 12
One of the most entertaining movies of the past few years, “The Pope’s Exorcist” is, just so we’re clear, about an exorcist hired by the pope. The pope isn’t possessed in “The Pope’s Exorcist.” Although that other scenario would be cool. Russell Crowe plays the titular exorcist, based on a real-life fighter of evil named Father Amorth (the movie is based on a pair of Amorth’s nonfiction books – “An Exorcist Tells His Story” and “An Exorcist: More Stories”), in appealingly full-bodied glory. Nobody commits quite like Crowe. The story takes place in the late 1980’s, which means there are no cell phones and there’s a great moment set to The Cult’s “She Sells Sanctuary,” as a family living in Spain is haunted by some truly nasty spirits. By the time naked women are exploding into a vaporous cloud of goo, you realize that “The Pope’s Exorcist,” nimbly directed by Julius Avery, is more than you probably thought it would be. It’s much, much more.
“Predator: Badlands”
Hulu – Feb. 12
The rejuvenation of the “Predator” franchise continues. Dan Trachtenberg, who directed 2022’s prequel “Prey” and last year’s animated “Predator: Killer of Killers” (both went direct-to-Hulu), returns the character to the big screen for “Predator: Badlands,” which hit theaters last fall. The latest entry in the franchise that began with 1987’s “Predator” takes a delicious left turn – instead of being about a group of human characters stalked by the titular alien menace on Earth, this time the predator, named Dek (Dimitrius Schuster-Koloamatangi), is the main character. He’s dispatched to a hostile alien world, where he is tasked with bringing down the planet’s most unkillable creature. Along for the ride is a broken android named Thia (Elle Fanning), who helps him along his journey. Trachtenberg perfectly understands the assignment, creating a wonderfully psychedelic fantasy landscape that you could imagine being spray-painted on the side of a van in the 1970’s, full of imaginative creatures and stunningly realized set pieces. It harkens back to earlier installments in the franchise without quoting them directly, making for a movie that feels inclusive, unique and warm. Additionally, he integrates elements from the “Alien” series in a way that doesn’t feel too nerdy or lore-heavy too. This is a “Predator” movie for everyone. And it really does rule.
“Eternity”
Apple TV – Feb. 13
Last year’s “Eternity” has a pretty brilliant premise for a romance. An older woman dies and goes to the afterlife, where she’s returned the appearance of a younger version of herself (Elizabeth Olsen). Her longtime husband soon joins her (Miles Teller), but matters are complicated when they both encounter her first husband who died in World War II (Callum Turner), who’s been waiting for his wife for decades. The decision before her? Choose which husband she’ll spend her afterlife with. It’s sweet, charming and definitely owes a debt to Albert Brooks’ brilliant afterlife comedy “Defending Your Life.”
“Blue Moon”
Netflix – Feb. 14
Richard Linklater and Ethan Hawke have been making masterworks together since the 1990s, and they did it again in 2025 with the Oscar-nominated “Blue Moon.” In this contained chamber piece, which takes place almost entirely in one bar, Hawke plays lyricist Lorenz Hart as he drinks, opines and ponders on the opening night of “Oklahoma!,” a new musical that his writing partner Richard Rodgers wrote with a different lyricist, Oscar Hammerstein. Hawke is phenomenal as he gets into the intricacies of art, jealousy, love and loneliness, and Linklater somehow manages to make this chamber piece feel epic and intimate in scope all at once.
“Ghostbusters: Afterlife”
Hulu – Feb. 16
Suffering from “Stranger Things” withdrawal since the show ended on New Year’s Eve? Well, why not revisit “Ghostbusters: Afterlife.” Not only does it co-star “Stranger Things” breakout Finn Wolfhard, but it has a decidedly “Stranger Things”-y approach to the material, eschewing New York City for a bucolic farm and the core Ghostbusters team for a somewhat family (Carrie Coon, Wolfhard and Mckenna Grace), who move to the countryside to settle the estate of Coon’s estranged father (Harold Ramis’ Egon Spengler). Sweet and entertaining, “Ghostbusters: Afterlife” brought the franchise back after the brink after the wildly divisive (but still pretty funny) Paul Feig female-led “Ghostbusters.” It’s got some good scares, some good ghosts, Paul Rudd as a wacky science teacher and a whole lot of heart. And if you’re missing “Stranger Things” real bad, it should totally do the trick. Who else you gonna call?
“Resident Evil: Welcome to Raccoon City”
Hulu – Feb. 23
“Weapons” filmmaker Zach Cregger has a fresh take on “Resident Evil,” the beloved horror survival videogame series, arriving later this year (just in time for Halloween, of course). But before you watch Cregger’s new take, why not check out the last attempt at a franchise reboot – the fiercely underrated “Resident Evil: Welcome to Racoon City.” Eschewing the enjoyable but overblown theatrics of the Paul W.S. Anderson film series, this new take, written and directed by British filmmaker Johannes Roberts (“The Strangers: Prey at Night,” Paramount’s recent “Primate”), takes a back-to-basics approach. The movie is set in 1998, following classic characters from the videogame as they first encounter the undead hordes created by the evil Umbrella Corporation. There are some nifty set pieces, some terrific needle drops and some gnarly monsters. If for some reason you missed this one (it was released during the pandemic) and are a fan of the videogame series, the earlier movies, or just want to get yourself pumped as hell for Cregger’s upcoming version, you should really check out “Resident Evil: Welcome to Raccoon City.”
“The Bluff”
Prime Video – Feb. 25
Imagine if John Wick was a woman… and a pirate… in the late 19th century. And you’ve mostly got the plot of “The Bluff,” from “Avengers: Endgame” filmmakers Joe and Anthony Russo, who produce via their AGBO banner, and director Frank E. Flowers. In “The Bluff” Priyanka Chopra plays a mother and former pirate, whose past catches up with her with the arrival of Karl Urban, a pirate with a deep-seeded grudge against her. Chopra’s pirate past instincts kick into gear and she kills a bunch of people, sort of like an ultra-violent “Pirates of the Caribbean” movie crossed with, yes, the “John Wick” franchise. Ismael Cruz Córdova, Safia Oakley-Green, Zack Morris and Temuera Morrison also star. Arrrrrrrrr you ready?
“In the Blink of an Eye”
Hulu – Feb. 27
Andrew Stanton makes his triumphant return to live-action after more than a decade away. (His last movie was 2013’s underrated space opera “John Carter.”) “In the Blink of an Eye,” which just premiered at the Sundance Film Festival, interweaves three storylines – a caveman family struggling to survive on a primordial Earth; a modern-day couple (Rashida Jones and Daveed Diggs) dealing with the complexities of contemporary romance; and a futuristic pilot (Kate McKinnon) tasked with populating an alien world, with an AI sidekick as her only company. The movie is odd and affecting, with each story braiding together and reverberating in surprising, sometimes profound ways (Jones’ scientist, for instance, is inspecting the fossilized bones of one of the cavemen). Stanton is a brilliant filmmaker in any medium and his accomplishments in both animation and live-action should not be undersold. If you’re looking for something romantic and strange, with delicate hints of “Cloud Atlas,” “The Fountain” and “2001,” than “In the Blink of an Eye” is for you.
“Kiss of the Spider Woman”
Hulu – Feb. 27
“Dreamgirls” filmmaker Bill Condon’s remake of “Kiss of the Spider Woman” gives Jennifer Lopez plenty of musical numbers to shine, but you may be surprised to discover this film is actually a prison drama. Set at the tail end of the Dirty War, Diego Luna plays a political prisoner whose cellmate is a gay window dresser (Tonituah) with a penchant for the dramatic. To pass the time, Tonituah’s character re-enacts scenes from his favorite movie, with those scenes then turning into full-blown fantasy musical numbers featuring Lopez.
“Kinds of Kindness”
Hulu – Feb. 28
Yorgos Lanthimos and Emma Stone are currently a very big part of the Oscar race thanks to their bizarro sci-fi movie “Bugonia.” But their previous collaboration is just as captivating, if much more unsung. “Kinds of Kindness” is an ambitious anthology film, with the same actors (including Stone, her “Bugonia” co-star Jesse Plemmons, Willem Dafoe and Margaret Qualley) appearing across three distinct chapters – “The Death of R.M.F.,” “R.M.F. is Flying” and “R.M.F. Eats a Sandwich.” In one section, an overbearing boss demands more and more from his lowly employee; in another a man becomes convinced that his wife has been replaced by a replica; and the third one involves a cult seeking for a divine specimen. They are bizarre and utterly bleak, with the film’s running time stretching to nearly three hours. It’s for real Lanthimos heads only, the ones who prefer him to be as alienating and utterly strange as possible. But “Kinds of Kindness” also feels like an underseen gem awaiting to be rediscovered. Maybe if they win a few more Oscars this year.
