The Best New Movies on Streaming This Weekend

A fresh week is here, and that means plenty of new movies are coming to streaming services this weekend! Luckily, the team at ScreenCrush has put together a guide to help you find the best new releases to enjoy as you relax after a busy week.

Weekends are perfect for movie time! If you don’t feel like going to the cinema, you can easily enjoy a film at home with some popcorn and cozy pajamas.

New Movies Streaming This Week and Weekend

This week offers a fresh spin on the Dracula story, a hilarious new sci-fi comedy with Sam Rockwell, and the latest documentary from Louis Theroux, now available on Netflix.

Want even more options? Check out other recent new movie streaming releases here.

Here are four new movies you can enjoy at home this weekend – you can rent or stream them!

Good Luck, Have Fun, Don’t Die

The sci-fi action-comedy Good Luck, Have Fun, Don’t Die follows a man (Sam Rockwell) who travels from the future to gather a team and prevent an AI-caused apocalypse. It became available to stream at home on March 10th.

Where to watch Good Luck, Have Fun, Don’t Die: Prime Video, Apple TV, Fandango at Home.

The Testament of Ann Lee

In the musical film The Testament of Ann Lee, Amanda Seyfried plays Ann Lee, the historical founder of the Shakers, a religious group that originated in the 1700s. The film became available for streaming at home on March 10th.

Where to watch The Testament of Ann Lee: Prime Video, Apple TV, Fandango at Home.

Solo Mio

After being left at the altar, a heartbroken man unexpectedly finds comfort and a new love interest during a solo trip to Italy in the charming romantic comedy, Solo Mio. The movie became available for streaming and purchase on March 10th.

Where to watch Solo Mio: Prime Video, Apple TV, Fandango at Home.

Dracula

Luc Besson’s film Dracula presents a passionate and dramatic reimagining of the classic horror story, focusing on the romantic side of the vampire prince. The movie became available for streaming and rental on March 10th.

Where to watch Dracula: Prime Video, Apple TV, Fandango at Home.

Louis Theroux: Inside the Manosphere

Louis Theroux’s newest documentary dives into the often-debated online world of the “manosphere”—a group of influencers known for promoting extreme ideas about masculinity and views that oppose feminism. The film examines how these influencers spread potentially harmful beliefs, like the concept of men needing to be “high-value.” It began streaming on Netflix on March 11th.

Where to watch Louis Theroux: Inside the Manosphere: Netflix.

The Worst Oscar Best Picture Winners

15. Marty (1955)

While Marty isn’t a bad film, it doesn’t quite live up to the original television broadcast on Philco Television Playhouse. The story of two lonely people finding a connection works better as a one-hour TV special than as a 90-minute movie—the added scenes don’t really improve it. Rod Steiger and Nancy Marchand brought a more intense and melancholic feel to their characters than Ernest Borgnine and Betsy Blair do in this version. It’s the strongest film on this list, but it feels odd that the TV movie’s superior version received an Oscar.

14. The Artist (2011)

It’s been a while since anyone’s thought about the movie The Artist, hasn’t it? It’s mostly remembered for winning five Academy Awards, including Best Director and Best Picture (beating out films like Moneyball and The Tree of Life). The film itself isn’t bad – it’s a charming, well-made comedy about the early days of silent movies, and Jean Dujardin is great in it as a French movie star struggling with the arrival of sound. But honestly, what’s the big deal? The Academy has ignored so many better, funnier, and more insightful comedies over the years. It’s almost frustrating that this rather forgettable movie was the one they chose to honor with their highest award.

13. Dances With Wolves (1990)

The 1990 Oscars are remembered for a major upset: Kevin Costner’s Dances With Wolves won Best Picture over Martin Scorsese’s Goodfellas. Dances With Wolves is a Western about a Civil War soldier who develops a connection with a Native American tribe. While the story feels cliché today, it was hugely popular with both audiences and critics when it came out, and Costner’s direction was competent. However, whether it was better direction than Scorsese’s work on Goodfellas is debatable.

12. The Greatest Show on Earth (1952)

1952 was a landmark year for movies around the world. John Ford directed The Quiet Man, Akira Kurosawa made Ikiru, Vittorio De Sica released Umberto D., and Orson Welles presented his adaptation of Othello at the Cannes Film Festival. Hollywood delivered classics like the Western High Noon, the drama The Bad and the Beautiful, and the musical Singin’ in the Rain. The film that won the Academy Award for Best Picture was about the circus.

Looking past its controversial Oscar win, The Greatest Show on Earth is a well-made spectacle. While it has a story, the film largely showcases the impressive acts of the Ringling Bros. and Barnum & Bailey Circus, taking up much of its two-and-a-half-hour runtime. In many ways, it’s similar to today’s big summer blockbusters: filled with stars, action, and stunning visuals, but lacking deep emotional resonance or intellectual complexity. It’s a solid and impressively large-scale production, but a film like this wouldn’t usually win—or even be nominated for—the Best Picture Oscar.

11. My Fair Lady (1964)

Despite the beautiful costumes and catchy songs, this movie hasn’t held up well over time. Audrey Hepburn isn’t quite right for her role, and Rex Harrison is deliberately unlikeable – and neither of them can sing! Hepburn’s singing is actually done by someone else, and Harrison essentially speaks his songs into an early wireless microphone – a new technology that unfortunately highlights a truly unpleasant voice. All of this serves a rather troubling “love story” where a man repeatedly criticizes a woman for her accent until she finally leaves him, and only then does he seem to regret his behavior. It’s a strange take on romance, to say the least.

10. Green Book (2018)

Peter Farrelly’s film, Green Book, simplified the true story of pianist Don Shirley (Mahershala Ali) and his driver Tony Lip (Viggo Mortensen) into a somewhat simplistic tale about race relations in America. The Shirley family protested parts of the movie, saying they weren’t involved in its creation. (The screenplay was co-written by Nick Vallelonga, the real Tony Lip’s son, who drew from interviews with his father.) Ultimately, the movie feels overly sentimental and difficult to fully accept, like trying to eat a whole pizza folded in half – it’s heavy and a bit much.

9. Birdman (2014)

While technically brilliant, Birdman feels emotionally empty. The film follows a former Hollywood star trying to revive his career with a Broadway play, but despite impressive long takes that make it seem like one continuous shot, it lacks genuine heart. Michael Keaton gives a strong performance, but the film’s stunning visuals aren’t enough to make it the best movie of a year that also gave us films like Boyhood, The Grand Budapest Hotel, Selma, and Whiplash.

8. Gigi (1958)

Alfred Hitchcock’s Vertigo, now considered one of the greatest films ever made, surprisingly wasn’t even nominated for Best Picture in 1958. Instead, the Oscar went to Gigi, a visually stunning but rather shallow movie set in Belle Époque France. While director Vincent Minnelli created a colorful and glamorous world, the story itself is thin – it’s essentially about a rich, handsome man who’s simply bored with his privileged life, making him a difficult character to root for. Today, Gigi is mostly remembered for its song, “Thank Heaven For Little Girls.” It’s hard to imagine a modern Best Picture winner featuring a song with that theme.

7. American Beauty (1999)

Regardless of the controversies surrounding Kevin Spacey, the story of American Beauty remains problematic. Even with a different actor, the film centers on a man experiencing a midlife crisis who develops an inappropriate obsession with his daughter’s friend. The movie depicts his fantasies about her in a way that’s presented not as disturbing, but as a path to personal renewal and regaining his youth. Meanwhile, Lester’s wife is portrayed negatively as a cold and materialistic woman, and she also has an affair. If American Beauty were released today, it would likely spark outrage and wouldn’t have won Best Picture in 1999, especially considering it beat out critically acclaimed films like The Sixth Sense and The Insider.

6. Out of Africa (1985)

Of all the films that have won the Academy Award for Best Picture, this one came out in 1985. As the title suggests, the story centers on two characters portrayed by Meryl Streep and Robert Redford. It’s inspired by a true story, specifically a book by Karen Blixen – who Streep actually plays in the film. The movie depicts Blixen’s move from Denmark to Nairobi to start a farm and her subsequent relationship with a local hunter (Redford). While beautiful to look at, the film itself isn’t very memorable and lacks dramatic impact.

5. Cimarron (1931)

Some films from the 1930s still feel modern, but Cimarron hasn’t aged as well. This Western follows a newspaper publisher and the evolution of his Oklahoma home over several decades, beginning in the late 1800s. While audiences at the time likely enjoyed its grand scope and scenery (and were less sensitive to its problematic stereotypes), today’s viewers will find that many of its themes and ideas have been explored more effectively in other, better-made films with stronger performances and writing.

4. Crash (2005)

Oscar-winning films about race often feel overly simplistic and heavy-handed, which explains why Crash won Best Picture in 2004, despite strong competition from films like Good Night, and Good Luck and, notably, Ang Lee’s Brokeback Mountain. The film boasts a famous cast – including Sandra Bullock, Don Cheadle, and Matt Dillon – lending it an air of prestige that often appeals to Academy voters. However, the movie itself – a tangled web of stories about the connections between people in Los Angeles who experience or commit acts of racism – is ultimately as complicated and irritating as the issue it tries to address.

3. The Great Ziegfeld (1936)

As a classic film fan, I was curious to see if the Academy’s love for long, serious biopics was a new thing, and this 85-year-old movie proved it isn’t! But honestly, I kept asking myself: why does a film about a completely unrepentant Broadway producer need to be three hours long? I was hoping for witty banter between William Powell and Myrna Loy, but she barely appears for the first two hours! There are some impressive musical numbers, and Powell does a great job making the utterly awful Ziegfeld somewhat charming – despite the fact that he’s a liar who takes advantage of people and contributes very little creatively, mostly just critiquing dresses and manipulating the press. Seriously though, why is it so long?!

2. Driving Miss Daisy (1989)

Many consider Driving Miss Daisy to be not only a poor Best Picture winner, but also a strange one. While it’s true the film tackled uncommon themes for Hollywood – aging and the dynamic between an employee and boss – that novelty likely wasn’t enough to justify the Oscar win in 1990. Ultimately, it’s a fairly simple character study. Despite covering 25 years, the film doesn’t convincingly show how time changes its characters or the world around them. The aging feels particularly superficial, with an actor suddenly sporting a gray wig to indicate the passage of time. Compared to films like Spike Lee’s Do the Right Thing (which wasn’t even nominated), or even the other films nominated for Best Picture that year – Born on the Fourth of July, Dead Poets Society, Field of Dreams, and My Left Foot – Driving Miss Daisy simply doesn’t hold up. Any of those would have been a stronger choice in retrospect.

1. Around the World in 80 Days (1956)

This movie’s take on the classic around-the-world race feels surprisingly slow and lacks excitement. David Niven’s character, Phileas Fogg, constantly delays his journey with lengthy detours for entertainment – dances, bullfights, and acrobatic shows – which really throws off the schedule. Niven seems bored, and that feeling spreads to the audience. The film’s attempt to connect the adventure to early space travel feels forced and only makes the already slow pace feel even more drawn out. It’s hard to believe this was considered the best film of 1956; it seems like the Academy may have simply lacked other strong contenders.

2026-03-11 17:59