As the birthplace of prestige TV shows like The Sopranos and The Wire, HBO—and, by extension, Max (aka the streamer formerly known as HBO Max, and soon to be known as that again)—is best known for its impressive lineup of original series. The network has also been upping the ante with feature-length content that is the stuff of Oscar dreams.
Below is a list of some of our favorite films streaming on Max—from Oscar-winning epics to dystopian sci-fi classics. If you decide you’re in more of a TV mood, head over to our picks for the best shows on Max. If you’re looking for even more recommendations, check out our lists of the best movies on Netflix, the best movies on Amazon Prime, and the best movies on Disney+.
Babygirl
Romy Mathis (Nicole Kidman) is a high-powered CEO with a husband (Antonio Banderas) who does not excite her and two teenage daughters she adores. But her life is turned upside down when one morning, while walking to her office, she is nearly attacked by a dog. A handsome young stranger (Harris Dickinson) steps in and manages to avert the attack, which leaves Romy shaken—and curious. Later, that same young man is introduced to her as Samuel, one of her newest interns, who seems to keep finding ways to push the boundaries of appropriate workplace behavior. Eventually, Romy gives in to Samuel’s advances, and his taste for BDSM-ish kink. Despite Romy’s concerns about the unfair power dynamic, Samuel insists that he’s the one who holds the power in their relationship, as she is the one with everything to lose. He might be right about that.
The Brutalist
Adrien Brody earned his second Best Actor Oscar for this historical epic from director Brady Corbet about László Tóth (Brody), a Bauhaus-trained architect who emigrates to America after surviving the Buchenwald concentration camp. Tóth settles in the Philadelphia area and must rebuild his life by working menial jobs for little pay. But Tóth’s talents don’t go hidden for long. A wealthy industrialist, Harrison Lee Van Buren (Guy Pearce), learns about Tóth’s past and commissions him to design a huge project. He also helps to speed up the immigration of Tóth’s wife, Erzsébet (Felicity Jones), whom he has not seen since his incarceration. But Tóth soon learns that the American Dream comes at a price. While, at its heart, The Brutalist is a frank depiction of the immigrant experience, it’s also a heartbreaking statement on the pain that comes with processing trauma. The film—which arrives on Friday—won three of its 10 Oscar nominations, and is completely deserving of each.
Aftersun
Though Paul Mescal scored a Best Actor Oscar nomination for his role in Aftersun, the film—Scottish filmmaker Charlotte Well’s directorial debut—remains grossly underseen. Calum (Mescal) is a father struggling with mental anguish, and doing his best to hide it, while vacationing with his precocious 11-year-old daughter Sophie (Frankie Corio) in Turkey. But she sees through the facade, even if she doesn’t understand what’s going on. While their leisurely beach days occupy most of the film’s running time, it’s Sophie’s recollection of the vacation and the ambiguity of its ending—not to mention the amazingly authentic chemistry between Mescal and Corio—that make the movie both a powerful meditation on mental illness and its effect on those around us, as well as a striking coming-of-age tale.
House
Prepare to have your mind blown by this trippy 1977 horror-comedy from Japan. Gorgeous (Kimiko Ikegami) is the daughter of a famed film composer who returns from a trip to Italy with a surprise: a new wife. In an effort to avoid the awkwardness of the situation, she asks her aunt if she can stay at her creepy old mansion for the summer, then brings along six of her closest friends. It doesn’t take long for weird things to start happening. Disembodied head attacks, homicidal pianos, and possessed cat portraits? This thrillingly bonkers cult classic has it all!
Gimme Shelter
Legendary documentarians Albert and David Maysles reinvented the rockumentary with this riveting first-hand recounting of the final days of the Rolling Stones’ 1969 US tour, which led to their infamous Altamont Free Concert. The concert, which attracted an estimated 300,000 people to California’s Altamont Speedway on December 6, 1969, was a disaster from the get-go—especially given the band’s decision to bring in the Hells Angels as the show’s security (one member famously said they were reportedly paid in beer). The Stones weren’t the only artists, but by the time they took the stage the crowd was out of control. At one point, one of the Angels stabbed a man, Meredith Hunter, right in front of the stage—a moment that the filmmakers later realized they had captured on film. Seeing the band’s reaction to watching the footage themselves makes for a truly compelling perspective on rock stardom.
Sing Sing
Colman Domingo proves yet again why he is one of today’s most acclaimed actors with this Oscar-nominated performance. Divine G (Domingo) is an inmate at New York’s infamous Sing Sing prison, serving time for a crime he did not commit. During his imprisonment, he finds purpose and joy in the prison’s theater group, part of its (very real) Rehabilitation Through the Arts program. By tapping into his inner thespian, Divine G is able to connect with his emotions, and he becomes determined to prove his innocence. But his undeniable acting talent, which inspires some of his fellow inmates, ends up posing a problem when it comes time for a parole hearing. Ultimately, Divine comes to respect the transformative power of the arts in helping him and some of his fellow inmates to overcome their past traumas. Making the film even more powerful is the fact that many of the actors are formerly incarcerated men who took part in the program.
Heretic
Hugh Grant earned some much-deserved awards consideration for playing so far against type in this religion-themed psychological thriller. Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are two young Mormon missionaries who are desperate to find someone—anyone—who will let them speak about their religion in an attempt to convert new members to the church. When Mr. Reed (Grant), a seemingly kind older man, invites them into his home in order to deliver their spiel to him and his wife, it quickly becomes apparent, at least to Sister Barnes, that something is amiss. And that Reed doesn’t so much want to hear about religion as he does talk about it—and force his own beliefs on the young women in increasingly bizarre, and deadly, ways.
Beau Is Afraid
Like writer/director Ari Aster’s previous two films, Hereditary and Midsommar, a written summary never quite seems to do justice to his very specific brand of moviemaking. In Beau Is Afraid, which is undoubtedly the most surreal of all his films, Joaquin Phoenix stars in the title role of Beau, a middle-aged man who lives alone in a crime-ridden neighborhood where even running across the street to the store can be a deadly adventure. When Beau, after a bizarre series of events, learns that his mother has died, he must find a way to forge ahead in the face of his many anxieties in order to travel home and deal with the aftermath. If only he didn’t keep falling prey to people promising to help him, only to draw him into their own surreal circumstances. Though at times it can feel a little self-indulgent—and, at two hours and 59 minutes, overly long—Phoenix’s performance and Aster’s auteurist stamp make it nonetheless compelling.
Carrie
Even if you’ve seen it 100 times and know what’s coming next, Carrie still has the ability to make you jump out of your chair—nearly 50 years after its original release. Carrie White (Sissy Spacek) is a shy, awkward teen who has been criminally sheltered (and regularly abused) by her God-fearing mother (Piper Laurie). But when the neighborhood kids nicknamed her “Creepy Carrie,” they were on to something. Because when Carrie is stressed, pissed, or otherwise facing some kind of psychological torment, she lashes out—with her kinetic powers. Unfortunately, her classmates only learn about this latent talent when it’s too late: after they’ve properly humiliated her at her high school prom. Though there are sequels and remakes, there’s only one original (and solid) adaptation of Stephen King’s debut novel, and it’s this one.
We Live in Time
Andrew Garfield and Florence Pugh ignite the screen with their chemistry in this romantic tearjerker that follows the couple over the course of a decade, from their meet-not-so-cute (she hits him with her car) to their journey into parenthood and, eventually, facing the ultimate curveball that threatens their happily-ever-after. Garfield and Pugh are two of the most acclaimed actors of their generation, and We Live in Time proves why.
Blue Velvet
Mulholland Drive may be widely considered David Lynch’s masterpiece, but Blue Velvet isn’t too far behind. Like most of Lynch’s projects, a general summary doesn’t really help sell the film: Clean-cut college student Jeffrey Beaumont (Kyle MacLachlan) returns home to help out at the family hardware store after his father has a stroke … and randomly finds a severed ear on the ground. While the detective assigned to investigate the incident tells Jeffrey not to discuss the crime, the detective’s teenage daughter (Laura Dern) seems to know as much about the crime as her dad does and teams up with Jeffrey to learn more. Their suspicions eventually lead them to Dorothy Vallens (Isabella Rossellini), a sultry nightclub singer, who seems to have some weird kinks (as Jeffrey sees for himself while hiding in her apartment). As always, Lynch’s movies are better experienced than explained. And Blue Velvet, which earned Lynch a Best Director Oscar nomination, is one of the late auteur’s very best.
Sons of Ecstasy
Phoenix, Arizona, may seem like an odd setting for a bitter feud between wannabe kingpins, but that’s exactly where this documentary takes place. It was there, in the 1990s, that two young men—Liverpool-born stockbroker Shaun Attwood and New York mafia royalty Gerard Gravano—found themselves at violent odds as both attempted to become the preferred supplier of ecstasy to local nightclubs and desert raves. For Gravano, son of Sammy “The Bull” Gravano, there’s a legacy to uphold. For Attwood, getting burned out by his day job led to the desire to become something more. Both men sat down with directors Elli Hakami and Julian P. Hobbs to tell their own stories.
Juror #2
Up until now, most of what you’ve heard about Juror #2 is how it’s one of Clint Eastwood’s most accomplished directorial efforts—and yet somehow it got shafted when it came to its theatrical release. Now’s your chance to see what all the fuss is about. Justin Kemp (Nicholas Hoult) is a journalist and recovering alcoholic who is making every effort to maintain his sobriety. That becomes a bit of a challenge when he’s put on the jury of a high-profile murder trial … only to realize that he may have inadvertently played a part in what happened. Hoult is fantastic in this edge-of-your-seat legal (and ethical) drama.
Beetlejuice Beetlejuice
It has been nearly 40 years since Tim Burton’s Beetlejuice stormed the late ’80s box office. In the decades since, we’ve often heard rumblings that a sequel was in the works. Or might be in the works. Or most definitely was in the works. Or might not be in the cards at all. Well, in 2024 it finally happened, and it was as if Michael Keaton had never stepped away from the role at all (eternal life has a way of doing that to you). This time, however, Lydia (Winona Ryder) is still doing her best to forget her rendezvous with the bio-exorcism pro. But when she returns to her childhood home, it’s her own badass daughter (Jenna Ortega) who finds a way to bring him back into all their lives.
Super/Man: The Christopher Reeve Story
James Gunn’s new version of Superman won’t arrive in theaters until July. In the meantime, audiences have Gunn and his DC Studios co-CEO Peter Safran (partly) to thank for bringing this long-overdue documentary about the ultimate superhero actor to worldwide audiences. Directors Ian Bonhôte and Peter Ettedgui deliver a heartfelt, moving tribute to Reeve—as an actor, yes, but even more so as a person who never gave up. Alexandra Reeve Givens, Matthew Reeve, and Will Reeve—Reeve’s children—share their own stories about their dad, giving the project yet another layer of intimacy. No, you’re crying.
Watchmen: Chapter I
Brandon Vietti (Batman: Under the Red Hood) directs this innovative animated adaption of Alan Moore’s Hugo Award-winning graphic novel about an investigation into the murder of Edward Blake—better known as a superhero named the Comedian. When the police come up empty in terms of suspects, the costumed vigilante Rorschach (Titus Welliver) decides to take the case into his own hands, and eventually comes to believe that someone is attempting to knock off superheroes. So he enlists the help of a group of them in order to put a stop to the killing spree.
MaXXXine
MaXXXine is the third film in writer-director Ti West’s X trilogy, which began with X and Pearl. It’s set immediately after the events of Pearl: Mia Goth’s Maxine Minx is desperate to escape her upbringing as a preacher’s daughter and make the move from porn to more mainstream movies. She gets her chance when she lands the lead in a horror movie, The Puritan II. Then her friends start getting murdered. Ultimately, Maxine is forced to confront the sins of her past and find a way to achieve the fame she so desperately dreams of.
Civil War
In the not-too-distant future, the United States has transformed into an all-out battlefield between an authoritarian government, headed by a third-term president (Nick Offerman), and a stream of secessionist movements that threaten to destroy the country as we know it. But a group of journalists (led by Kirsten Dunst) is determined to document the downfall of America at any cost, so they set about heading to the White House in order to interview the embattled president. Which is much easier said than done. Oscar nominee Alex Garland (Ex-Machina) writes and directs this dystopian drama that often hits uncomfortably close to home.
Furiosa: A Mad Max Saga
Furiosa may been dubbed last summer’s first box office “bomb,” but don’t let those dollar-focused headlines deter you from this one. Anya Taylor-Joy, who is undoubtedly one of the most versatile actors working today, shines in the role of Imperator Furiosa, a badass emancipator who dares to challenge gender conventions in a dangerous, postapocalyptic world where (no surprise at all) men make the rules. Taylor-Joy does an admirable job embracing the role that Charlize Theron memorably originated in Mad Max: Fury Road.
Drive My Car
Despite earning four Oscar nominations in 2022—and winning one for Best International Feature Film—it still feels entirely accurate to state that Ryûsuke Hamaguchi’s Drive My Car remains woefully underseen. Here’s your chance to do your part to fix that. Yusuke Kafuku (Hidetoshi Nishijima) ia a renowned theater director still reeling from the death of his wife. Eventually, he makes the decision to begin working again and agrees to a two-month residency to direct a play in Hiroshima, an hour from his home. So each day, a young woman (Toko Miura) drives him to and from the theater. All that time spent in a confined space together eventually leads to a friendship—one where Kafuku feels comfortable sharing the challenges he is facing with his new project and, eventually, the truth about the way in which his wife betrayed him. Road movies have never felt so intimate—or leisurely.
Love Lies Bleeding
English writer-director Rose Glass follows up her BAFTA-nominated Saint Maud with this twisty, hyper-violent love story. It’s 1989 in a rural New Mexico town where gym manager Lou (Kristen Stewart) is doing her best to stay under the radar and keep an eye on her sister Beth (Jena Malone), who is in an abusive relationship with her husband JJ (Dave Franco). But Lou’s life is turned upside down when Jackie (Katy O’Brian), a gorgeous young bodybuilder, begins coming to Lou’s gym to train for an upcoming competition in Las Vegas. The two fall in love—and then Lou’s hidden family secrets come tumbling out of the closet and threaten her life, and the lives of those she cares about.
Faye
“I’m Faye Dunaway. That’s who I am.” That’s the way the Oscar winner introduces herself in the trailer for Laurent Bouzereau’s feature-length documentary. But what the film reveals is that there’s a lot more to Faye Dunaway than the glamorous image associated with the legendary star of Network. Dunaway opens up in a way that has rarely been seen before, discussing her childhood and family, her struggles with bipolar disorder, and how the characters she has played continue to impact her. It’s a fascinating portrait of a true Hollywood icon.
Quad Gods
Jess Jacklin’s feature documentary follows the fascinating journey of Blake, Prentice, and Richard—three individuals with quadriplegia who meet in a neuro-rehabilitation lab at Mount Sinai Hospital and launch a plan to create the world’s first all-quadriplegic esports team. It’s a noble pursuit, but one fraught with challenges as they break down the doors of ableism. At its heart, Quad Gods is a story of friendship, perseverance, and survival.
Am I OK?
Lucy (Dakota Johnson) is a thirtysomething living in Los Angeles, constantly failing at relationships and wondering why she doesn’t have everything figured out yet. After drunkenly sharing the story of the time she kissed a female friend as a teen, she begins to realize that the problem in her love life might not be the men she’s choosing, but that she’s choosing men at all. Former Saturday Night Live writer Lauren Pomerantz penned the script for the film based on her own experience of coming out in her thirties. Tig Notaro and her wife Stephanie Allynne do an admirable job as codirectors, treating Lucy’s journey of self-discovery with the respect it deserves—and plenty of humor.
MoviePass, MovieCrash
For better or worse, millions of film fans will remember 2012 as the year of MoviePass. For $25 per month, you could basically live in a movie theater—which was great for audiences, not so great for movie theaters (which were already struggling), and eventually disastrous for the company itself. For anyone who still has their MoviePass, this revealing documentary tells the real story of all that went wrong behind the scenes, and shares the story of the unsung heroes who really did just want to create a product that movie lovers could embrace. By the way: If you do indeed still have your original MoviePass, this doc has made it a worthwhile piece of memorabilia—with some selling for north of $1,000.
Dune and Dune: Part Two
Since breaking through with the Oscar-nominated Incendies (2010), Denis Villeneuve has continued to prove that he’s one of the most talented filmmakers working today. As if making a Blade Runner sequel that didn’t suck wasn’t enough, Villeneuve then went on to crack the cinematic code on Frank Herbert’s Dune series—something that true visionaries like David Lynch and Alejandro Jodorowsky had attempted before him, albeit largely unsuccessfully. Both the 2021 original film and its sequel are streaming on Max—as is Lynch’s 1984 adaptation (which has become a bit of a cult classic over the years). The film follows the fate of the planet Arrakis—and its supply of melange, a unique spice and the most valuable substance in the universe—which rests in the hands of Paul Atreides (Timothée Chalamet), the untested son of a powerful duke. Looking for more Dune action? The prequel series Dune: Prophecy, starring Emily Watson, Olivia Williams, and Mark Strong is streaming in full.
The Zone of Interest
In 1943, Rudolf Höss (Christian Friedel) was the commandant of Auschwitz who spent his days playing god with the lives of the concentration camp’s innocent prisoners. But what happened when Höss went home? That’s the reality Jonathan Glazer’s Oscar-winning film examines, and the answer is: Not much. Höss lives right next door to the camp, in the so-called Zone of Interest, with his wife Hedwig (Sandra Hüller) and their five children. Within those four walls, they strive to build a dream life for their family—while the sound of gunshots, incoming trains, and furnaces being lit are just a part of daily life. Yes, it’s every bit as brutal—and necessary—as it sounds.
Wonka
Timothée Chalamet stars as Willy Wonka in this perfectly entertaining origin story of Roald Dahl’s quirky chocolatier, directed by Paddington’s Paul King. While it doesn’t hit the same as Mel Stuart’s Willy Wonka & the Chocolate Factory—really, who could match Gene Wilder’s somersaulting candy maker?—it also far surpasses Tim Burton’s fairly needless 2005 remake.
Dream Scenario
Like Forrest Gump’s famed box of chocolates, you never know what you’re going to get from a Nicolas Cage performance. But he’s a one-of-a-kind actor whose roles tend to fall into one of two categories: totally transcendent, or scenery-chewing at its most voracious. Dream Scenario is very much the former, and has been heralded as one of the Oscar-winning actor’s best performances by some critics. Rightfully so. Cage stars as Paul Matthews, an unassuming biology professor who suddenly begins appearing in strangers’ dreams and achieves viral fame as a result of it. Like any good Cage performance, this one is multifaceted and examines the downside of sudden fame and what it really costs.
Dicks: The Musical
A24—the studio known for its edgy, award-winning indies like Moonlight and Ex Machina—takes a dive into the musical genre with this adaptation of the off-Broadway hit Fucking Identical Twins (and you thought Dicks: The Musical was a raunchy title). Aaron Jackson and Josh Sharp cowrote and costar in this over-the-top musical as two coworkers who discover that they’re long-lost twin brothers, and they attempt to Parent Trap their parents (played by Nathan Lane and Megan Mullally). Megan Thee Stallion plays their boss. Anyone offended by an f-bomb—or dozens of them—might want to give this one a skip.
Barbie
Greta Gerwig is a master of breathing new life into old properties (see: Little Women). With Barbie, she has ignited a revolution. Barbie (Margot Robbie) is living her best life in Barbieland—until one day, when her perfectly plastic world, and heels, suddenly begin to collapse. To get her fabulous life back, Barbie must travel to the real world—well, Los Angeles—to determine who or what is causing her existential crisis. The film grossed nearly $1.5 billion worldwide, meaning you’ve already seen it. But even if you did, it’s absolutely worth a second watch—if only to lament its many Oscar snubs.
RoboCop
From Total Recall to Showgirls and back to Basic Instinct, director Paul Verhoeven has a track record almost unmatched in modern cinema. RoboCop, his dystopian take on law enforcement, is proof. Set in a bleak vision of Detroit overrun with crime, it follows a cop (Peter Weller) who gets fatally wounded and turned into, yes, a robot cop, who you might think is good at fighting crime, but of course is not. Some of the visual effects may look a little beat up now, but in 1987, they looked like the future. Also, if RoboCop leaves you wanting more, the film’s director’s cut and 2014 reboot are also available on Max.
Albert Brooks: Defending My Life
Albert Brooks is a comedian’s comedian. Though he might be best known as the filmmaker behind such celebrated comedies as Defending Your Life, Lost in America, Real Life, and Mother, he’s also a brilliant actor (with an Oscar nomination to prove it). Brooks’ longtime pal Rob Reiner directs this charming documentary, which documents Brooks’ one-of-a-kind talent, with a stunning lineup of A-listers—including David Letterman, Steven Spielberg, Sarah Silverman, Judd Apatow, Chris Rock, Larry David, and Ben Stiller—all ready to sing his praises.
Reality
In 2017, an intelligence report about Russian interference in the 2016 US presidential election was leaked anonymously. One year later, former NSA translator Reality Winner (yes, that’s her real name) was sentenced to more than five years in prison for the crime—the longest sentence ever received by a government whistleblower. HBO’s reigning muse, Sydney Sweeney (Euphoria, The White Lotus), shines in this gripping true story, which plays out mostly in real time as the FBI knocks on the 25-year-old’s door and spends more than an hour questioning her.
All the Beauty and the Bloodshed
Finding success in one’s lifetime might seem like the dream of every artist, but Nan Goldin has bigger ambitions. Though she’s a photographer by trade, she’s an activist by calling and has long used her camera to capture painfully intimate moments of America in crisis, including extensive work focused on the HIV/AIDS and opioid epidemics. But All the Beauty and the Bloodshed reveals the artist in conflict: Should she allow her work to be showcased in one of the prominent museums or galleries that have received endowments from the Sackler family—the Big Pharma family that many blame for America’s opioid crisis? It’s a moving portrait of an artist willing to risk it all for her beliefs.
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