Hulu made waves in television history by becoming the first streaming service to snag the Emmy Award for Outstanding Drama Series, thanks to the remarkable success of The Handmaid’s Tale.
While Netflix has largely dominated the streaming arena with original films—and has even managed to attract high-profile filmmakers like Guillermo del Toro, Alfonso Cuarón, and Martin Scorsese—Hulu is starting to carve out its own niche in features as well. Below are some of our top recommendations for the finest movies (both original and classic) available on Hulu right now.
Still in search of even more excellent titles for your watchlist? Take a look at WIRED’s lists of the best TV shows on Hulu, top films on Netflix, must-watch movies on Disney+, and standout films on Amazon Prime. If you don’t agree with our selections or have your own recommendations, feel free to share your thoughts in the comments.
A Real Pain
Kieran Culkin continues to shine as Hollywood’s most endearing scene-stealer—with an Oscar nomination to boot—in this buddy-esque road trip comedy written, directed, produced, and co-starring Jesse Eisenberg (who earned an Oscar nod for the screenplay). David (Eisenberg) and Benji (Culkin) embark on a journey to Poland to honor their late grandmother, a Holocaust survivor. Despite having taken very different life paths and possessing contrasting personalities, the brothers find a way to reconnect, proving that family ties run deep.
Arcadian
Nicolas Cage delivers, as only he can, in this post-apocalyptic thriller where father Paul (Cage) and his twin sons, Thomas (Jaeden Martell) and Joseph (Maxwell Jenkins), are among the few survivors on Earth. Complicating their situation is the nightly threat of murderous creatures intent on eradicating humanity. When Thomas goes missing, Paul must head out into the darkness to rescue him—an ill-advised venture that leaves him injured, battling for survival while depending on his sons to keep them all alive.
Nightbitch
Marielle Heller adapts Rachel Yoder’s 2018 novel in this darkly comedic horror tale tackling the complexities of motherhood. Amy Adams displays a fierceness rarely seen in her six-time Oscar-nominated performances. In this film, she portrays a stay-at-home mom simply known as Mother, grappling with feelings of resentment toward her husband (Scoot McNairy) and young son due to the loss of her previous artistic identity. Meanwhile, she begins to suspect she may be transforming into a dog, which makes more sense in the context of the narrative.
John Wick
It has been over a decade since Keanu Reeves introduced audiences to one of cinema’s most captivating vigilantes: John Wick, an exceptionally skilled hitman drawn back into the fray when two low-level Russian thugs steal his beloved 1969 Mustang and kill his puppy Daisy in the process. What those crooks don’t realize is that John is far from an ordinary target. This film has since spawned three sequels, a prequel series (The Continental), and the highly anticipated spinoff film Ballerina, starring Ana de Armas.
American Psycho
Nearly ten years before revving up the Batmobile, Christian Bale faced warnings from many in his circle that taking on the role of Patrick Bateman, the yuppie murderer at the heart of Bret Easton Ellis’ notorious novel, would be “career suicide.” Instead, it only fueled Bale’s determination. Director Mary Harron masterfully adapts the source material—challenging for many due to its unlikable protagonist and graphic violence. However, in Harron’s capable hands, it evolves into a razor-sharp satire and social critique of 1980s excess.
Thelma
June Squibb emerges as the unlikely action hero we didn’t know we needed. Following her Oscar-nominated role in Alexander Payne’s Nebraska, the 95-year-old actress has become one of Hollywood’s hottest properties. Here, she portrays Thelma, a grandma duped out of $10,000 by a phone scam targeting the elderly. Frustrated by the authorities’ lack of action, Thelma takes justice into her own hands, armed with a gun and her motorized scooter. This vigilante comedy is inspired by the real-life experiences of writer-director Josh Margolin’s own grandmother.
Ad Astra
In a near-future setting, U.S. Space Command Major Roy McBride (Brad Pitt) discovers that mysterious power surges from an old space station threaten Earth. When he realizes the activity traces back to the Lima Project—a mission led by his father, H. Clifford McBride (Tommy Lee Jones), who has been missing in space for three decades—Roy embarks on a journey into the unknown. Upon announcing the project, co-writer/director James Gray boldly claimed he aimed to create “the most realistic depiction of space travel that’s been captured in a film.” Did he succeed? Watch and decide for yourself.
Late Night With the Devil
In the 1970s, late-night talk show host Jack Delroy (David Dastmalchian) relentlessly pursues Johnny Carson’s ratings but struggles to keep up. He achieves his highest viewership when his beloved wife, Madeleine (Georgina Haig), a cancer patient, appears on his program. Following her untimely passing, Jack suspends production. When he returns, now more determined than ever to outshine Carson, he devises an occult-themed Halloween show, featuring a psychic (Fayssal Bazzi), a parapsychologist (Laura Gordon), and a possessed teen (Ingrid Torelli) who divulges shocking truths about Jack and Madeleine’s relationship. Many critics have heralded Late Night With the Devil as the standout horror film of 2024—and for good reason.
Babes
Pamela Adlon’s directorial debut challenges traditional notions of motherhood in the same way Bridesmaids did for marriage. Set in New York, long-time best friends Eden (Ilana Glazer) and Dawn (Michelle Buteau) are navigating vastly different life chapters. Dawn is grappling with postpartum depression while juggling her responsibilities as a working mother and wife, while Eden, unencumbered by such demands, discovers she’s pregnant following a one-night stand, deciding to embrace single motherhood. Their friendship evolves in unexpected ways in this brutally honest comedy.
The First Omen
True to its title, The First Omen serves as the sixth installment of The Omen franchise, acting as a prequel to the iconic 1976 horror film. If you were unaware of the six films in this series, there’s a reason for that: aside from the original by Richard Donner, the others generally lack quality. However, nearly 50 years later, The First Omen revitalizes a seemingly worn-out premise. Set in 1971, the film follows Margaret (Nell Tiger Free), a young American novice at an orphanage in Rome, who bonds with Carlita (Nicole Sorace), plagued by disturbing visions. Despite warnings from the head priest (Ralph Ineson) about “evil things” that could transpire, Margaret believes she can assist the girl. If you’re familiar with The Omen films, you likely anticipate where this storyline is headed: a wave of satanic children bearing the infamous mark of the devil (666). Predictable as it may be, the film exhibits strong performances and craftsmanship, hinting that it could give rise to more sequels.
Kinds of Kindness
Just three months after Poor Things earned four Oscar accolades, Yorgos Lanthimos reunited much of the cast for Kinds of Kindness, which premiered at Cannes. Unlike his earlier works, this film is an anthology—marketed as a “triptych fable.” True to Lanthimos’ style, it’s infused with absurdist humor and flamboyant performances from its stars. The narrative contains sex cults, reanimation, sandwiches, murderous bosses, and even John McEnroe’s broken tennis racket, creating a wildly entertaining experience.
Little Women
Greta Gerwig is far from the first writer-director to adapt Louisa May Alcott’s Little Women for film, nor is she the first to do it well (Gillian Armstrong’s 1994 adaptation starring Winona Ryder and Christian Bale maintains a cherished status). However, Gerwig infuses the 19th-century narrative with a modern feel through subtle choices, such as manipulating the book’s timelines. It doesn’t hurt that the film boasts a stellar ensemble including Saoirse Ronan, Timothée Chalamet, Emma Watson, Florence Pugh, Eliza Scanlen, James Norton, Laura Dern, Chris Cooper, Tracy Letts, Meryl Streep, and Bob Odenkirk.
Immaculate
Sydney Sweeney not only produced this religious horror film but also stars as Cecilia, a young nun convinced that a near-death experience has destined her for a greater purpose. When invited to join a convent in a quiet Italian village that assists older nuns at life’s end, she eagerly accepts—only to uncover unsettling truths about the place.
Ferrari
Enzo Ferrari (Adam Driver) is a charismatic figure who appears to have it all: once a race car driver and now the founder of Ferrari, he seems to embody charm and wealth. Yet, behind the gleaming surface, he confronts mounting personal and financial pressures during the summer of 1957. Michael Mann’s biopic portrays Ferrari at a pivotal moment as he grapples with potential bankruptcy, the loss of his son, and the task of concealing past transgressions from his estranged wife—who helped build the company and holds the key to its future. While the film received mixed critiques, it adeptly narrates the intricate tale of a complex man, anchored by Penélope Cruz’s powerful performance.
Perfect Days
At nearly 60 years into his filmmaking career, Wim Wenders has arguably crafted one of his finest works with Perfect Days—a remarkable feat considering his previous masterpieces like Paris, Texas (1984) and Wings of Desire (1987). The film follows Hirayama (Kōji Yakusho), a toilet cleaner in Tokyo who finds contentment in the simplicity of his life, allowing him time to engage in his true passions: music, literature, and nature. With no grand narratives driving the plot, viewers witness the subtle, poignant interactions Hirayama shares with those around him—family, coworkers, and strangers—and how those moments shape his world. It’s this poetic simplicity, combined with Yakusho’s outstanding performance, that lends the film its emotional depth.
Origin
Ava DuVernay has once again transformed cinematic storytelling by delivering both a biopic and historical exploration with Origin. The film centers on the life of Isabel Wilkerson (Aunjanue Ellis-Taylor), the first Black woman to earn the Pulitzer Prize in journalism for her work at The New York Times. It chronicles Wilkerson’s quest to pen her 2020 book Caste: The Origins of Our Discontents—a massive undertaking that leads her from the U.S. to Germany to India, investigating the troubling histories of each nation’s caste systems and the troubling parallels among them.
The Contestant
On January 11, 1998, 22-year-old comedian Tomoaki Hamatsu entered his apartment in Japan, nude and isolated, for 15 months as part of a controversial game show titled Susunu! Denpa Shōnen. Unbeknownst to Hamatsu, his life was being broadcast to millions. This gripping documentary examines how this experiment came to be and the profound cultural and psychological ramifications it had on both Hamatsu and the vast audience drawn into witnessing the process of his on-screen exploitation.
Anatomy of a Fall
Between her notable performances in The Zone of Interest and Anatomy of a Fall, German actress Sandra Hüller has demonstrated her knack for choosing impressive roles. In this gripping courtroom drama, Hüller portrays a successful author who becomes a murder suspect after her husband (Samuel Theis) is found dead outside their residence on a frigid day. Ultimately, it may be her son (Milo Machado-Graner) and/or his guide dog (Messi, the real star, according to the film) whose actions determine Hüller’s fate. It’s a smart and twisty mystery that will keep viewers engaged.
Poor Things
Bella Baxter (Emma Stone) is a young woman resurrected with the brain of an infant, thanks to the eccentric scientist Dr. Godwin Baxter, or God (Willem Dafoe). However, Bella quickly becomes a curious learner eager to explore life’s many adventures—regardless of societal expectations. Mark Ruffalo, Ramy Youssef, and Christopher Abbott feature among the captivated men intrigued by Bella’s boldness (“I must go punch that baby”) in what is surely the most outrageous title in Yorgos Lanthimos’ filmography—a proclamation that carries weight. A word of caution: those easily offended by nudity or explicit content may want to skip this one.
BlackBerry
It’s Always Sunny in Philadelphia’s Glenn Howerton is almost unrecognizable in this captivating retelling of the rise and fall of BlackBerry, the pioneering smartphone that captivated the world before the emergence of the iPhone. Howerton co-stars as Jim Balsillie, the real-life negotiator who, with Mike Lazaridis (Jay Baruchel), launched the world’s first smartphone—a storyline packed with drama and dark humor.
The Royal Hotel
Julia Garner, known for her role in Ozark, teams up once more with director Kitty Green (The Assistant) in this taut psychological suspense film. In search of a financial boost, best friends Hanna (Garner) and Liv (Jessica Henwick) accept a job at a remote hotel in the Australian outback. However, Hanna soon senses something off about their new workplace and its unusual clientele. Garner continues her streak of playing fierce characters, and The Royal Hotel adds to that legacy.
All of Us Strangers
Adam (the exceptionally talented Andrew Scott) is a reclusive television writer who, after an awkward encounter with his neighbor Harry (Paul Mescal), embarks on a passionate relationship. When not with Harry, Adam returns to his childhood home and finds himself interacting with his deceased parents (Claire Foy and Jamie Bell) as if they were still alive 30 years after their passing. A less adept director could render these fantastical elements contrived, but with Andrew Haigh (Weekend, 45 Years) at the helm, the surreal framework enriches the emotional impact.
Self Reliance
New Girl’s Jake Johnson embarks on his feature directorial debut with this wonderfully offbeat and occasionally dark meta-comedy, which he also wrote and stars in. Tommy Walcott (Johnson) leads a mundane life until approached by Andy Samberg (playing himself), who presents an extraordinary opportunity: the potential to earn $1 million by simply evading death for 30 days while being pursued by numerous contract killers assigned to ensure no contestant survives. The catch? Contestants can only be eliminated when completely alone. Tommy resolves to team up with another contestant, Maddy (Anna Kendrick), leading to a surprising pact for both of them as they seek to navigate the perilous challenge of the next month together. Just when you think you understand where Self Reliance is headed, it takes unexpected turns—in the most delightful ways.
No One Will Save You
Home invasion thrillers are commonplace, but few manage to deliver genuine chills. Kaitlyn Dever showcases her talents once more as Brynn Adams, a seamstress residing in her childhood home while mourning her mother and closest friend. One night, she awakens to discover an intruder in her home, but this invader is something otherworldly. Although an extraterrestrial home invasion may not have been on your anticipated watchlist, No One Will Save You is an engaging 93-minute experience.
Miguel Wants to Fight
At 17, Miguel (Tyler Dean Flores) has never been involved in a fight. As he learns he will be leaving his familiar surroundings, he recruits his friends to help him get into his first brawl. Though perhaps not the first coming-of-age ritual to come to mind, it undoubtedly stands out. Featuring a talented young cast, this comedy written by Shea Serrano and Jason Concepcion is immensely enjoyable.
Sanctuary
Hal Porterfield (Christopher Abbott) inherits control of the family fortune following the death of his hotel tycoon father. Rebecca Marin (Margaret Qualley) is a dominatrix who feels entitled to a share of Hal’s newfound CEO position and revenue. The sexual politics in this gripping and often claustrophobic thriller from Zachary Wigon are both twisted and humorously dark.
Corsage
Vicky Krieps delivers yet another outstanding performance as Empress Elisabeth of Austria, who—after turning 40—yearns to reclaim the freedom of her youth. Marie Kreutzer crafts a fictional biopic that creatively imagines the life of this real figure, illustrating her struggles against the constraints of her title and a desperate desire to cling to the power associated with youth and beauty, regardless of the repercussions.
How to Blow Up a Pipeline
In this gripping thriller directed by Daniel Goldhaber, the battle for environmental justice intertwines with elements of a heist film as a group of activists comes together to, as the title suggests, reveal the vulnerabilities of the oil industry. It’s not common for a film addressing the climate crisis to double as a thrilling adventure, but here, those components work seamlessly together. (Thanks to cinematographer Tehillah de Castro for helping achieve that.) Smart, timely, and nearly unprecedented, How to Blow Up a Pipeline is certainly worth a watch.
Rye Lane
Raine Allen-Miller dazzled at Sundance 2023 with her directorial debut, which offers a fresh spin on the classic rom-com. Yas (Vivian Oparah) and Dom (David Jonsson), both in their twenties and recovering from recent heartaches, encounter each other through an awkward initial meeting. They spend a memorable day in South London, bonding over their shared sorrows, discovering humorous ways to move on, and possibly realizing that love isn’t dead after all.
Triangle of Sadness
Envision something akin to Gilligan’s Island, but infused with incisive class critique and a healthy dose of chaos. When a group of affluent individuals sets sail on a luxury yacht, their plans collapse when a violent storm strands them on a beach, where their wealth and power become irrelevant to survival. This intriguing premise hints at a larger narrative, and if you’re fond of satirical critiques on wealth’s excesses, reminiscent of The Menu, this Oscar-nominated film is just the ticket.
Portrait of a Lady on Fire
This film may have established “lesbian period drama” as a genre, but it also stands as one of the best contemporary queer romantic films alongside Moonlight and Carol. Set in the late 1700s on an isolated French coast, writer-director Céline Sciamma’s film tells the poignant story of Héloïse (Adèle Haenel), an aristocrat engaged to a wealthy Milanese suitor. When Héloïse’s mother commissions Marianne (Noémie Merlant) to paint her daughter’s portrait, the two women fall deeply in love, embarking on a heartbreaking affair that exemplifies the depth of longing and emotion—capturing the essence of what makes queer period dramas so compelling. You will be entranced.
Fresh
Noa (Daisy Edgar-Jones) is a woman searching for love, disillusioned by the online dating scene. When she meets Steve (Sebastian Stan), a charming, quirky stranger, they immediately hit it off and plan a weekend getaway—during which Noa discovers Steve has some unsettling secrets. Ultimately, Fresh serves as a cautionary tale about the perils of dating in the digital age, both real and exaggerated.
Palm Springs
Building upon the legacy of Harold Ramis’ iconic Groundhog Day, writer-director Max Barbakow takes bold strides with Palm Springs, and viewers are grateful he did. This fresh concept extends the narrative beyond one character (Bill Murray’s Phil Conners) driven to madness by time-looping. Instead, Palm Springs features three wedding guests—Nyles (Andy Samberg), Sarah (Cristin Milioti), and Roy (J. K. Simmons)—caught in the same repetitive day, collaborating to find a way out of their temporal purgatory.
