With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

Dog Eat Dog (Paul Schrader)

Dog Eat Dog 2

Paul Schrader might want to consider expanding his thematic scope a little. Decade after decade, film after film, regardless of whether he’s been writing scripts for others (Martin Scorsese, first and foremost), or sitting in the director’s chair himself, the erstwhile Calvinist has come back to the theme of redemption with obstinate persistence. His protagonists are almost always men, they’re almost always amoral sinners of some ilk or other, and they almost always yearn to break out of the wicked, vicious cycles on which their lives have been relentlessly spinning. Not an unfruitful theme by any means, considering it has given rise to many a masterpiece across the history of cinema – of all arts, really – but Dog Eat Dog suggests that, as far his own filmmaking is concerned, Schrader may have exhausted its potential. – Giovanni M.C. (full review)

Where to Stream: Amazon, iTunes

Don’t Breathe (Fede Alvarez)

Stephen Lang

Twisting the “blind warrior” trope into a simple but possibility-laden premise, Don’t Breathe makes for a very fun little thriller, though it also veers into being exceptionally stupid or eye-rollingly gross (although admittedly, it is sometimes more than one of these things simultaneously). Since mainstream horror is this way almost as a rule, I suppose it’s redundant to call the movie out on this – especially since no one cares about stupidity and grossness is generally a draw (though I refer more to thematic grossness than anything squeam-inducing happening onscreen; more on that in a bit). Since that just leaves the fun, this review is technically a ringing endorsement! – Dan S. (full review)

Where to Stream: Amazon, iTunes, Google

The Emperor’s New Groove (Mark Dindal)

Emperors New Groove

The name David Spade is not usually synonymous with “best,” but, even as a Joe Dirt apologist, The Emperor’s New Groove will certainly go down as his best film — pending some sort of Spadeaisance. Mark Dindal‘s animation went through so many changes that an entire documentary was dedicated to its troubles, but it’s proof that even the most contentious production can yield bountiful results. This madcap, joke-a-second adventure has so many non sequiturs and seemingly drug-fueled asides that it seems like a gem compared to most of the sanded-down studio output. It was released about a year before Chuck Jones died; we’re not sure if was able to see it, but he can rest proudly knowing both his animation style and strand of humor were greatly honored here. – Jordan Raup

Where to Stream: Netflix

Hell or High Water (David Mackenzie)

Hell or High Water

David McKenzie’s Hell or High Water is a gritty, darkly humorous, and fiendishly violent neo-western. Or, in other words, the type of film you might expect from a non-American director working in the United States. It borrows heavily from the Coen brothers and Cormac McCarthy, but it does so very well, thanks largely to a terrific script from Taylor Sheridan, the red-hot actor-turned-screenwriter who broke onto the scene last year with Sicario. It might usher in a new chapter of the Cambridge-born director’s career having come back strong in 2013 directing an inspired Jack O’Connell in Starred Up. Indeed, this relocation to the States should go some way to explaining an enjoyably plastic impression of West Texas, where T-bone steaks are served only medium rare and people say things like, “Sideways don’t wanna meet me. Unless it wants to find itself at the short end of a long street.” Or something like that. – Rory O. (full review)

Where to Stream: AmazoniTunes, Google

Krisha (Trey Edward Shults)


Though writer-director-editor Trey Edward Shults hardly turns the dark family drama genre on its head, Krisha compensates with exceptional acting and an infectious atmosphere of dread. If the bare bones of cliché are there simply so that artists can pack on their own meat, then Krisha Fairchild surely makes the most of the provided opportunity. Though I increasingly grow perturbed over “raw” performance in modern film that is maybe / sort of just misery porn, her three-legged-dog embodiment of Krisha’s mounting desperation is undeniably riveting. She attempts to tamp down her neuroses the same way she keeps her medications in a lockbox, but her every attempt to reach out to estranged siblings and in-laws and such is hobbled by the fear (or maybe resigned knowledge) that she will be rebuffed. – Dan S. (full review)

Where to Stream: Amazon Prime

Kubo and the Two Strings (Travis Knight)

Kubo and the Two Strings header

While there’s a distinct novelty to all of their work — whether it’s based on books by Neil Gaiman or Alan Snow — Laika have returned to genuinely original material with their fourth animation. This time around, the company’s CEO and lead animator on their first trio of films, Travis Knight, makes his directorial debut with Kubo and the Two Strings. Steeped in the mythology and fables of Japanese history, it’s another fantastical adventure from the studio with innovation and awe at every turn, despite a story that could benefit from having more specificity and focus. – Jordan R. (full review)

Where to Stream: Amazon, iTunes, Google

The Monster (Bryan Bertino)


Monster movies are tough because there’s a desire to go full bore into cat and mouse chaos or metaphorical symbolism. Things get muddled when both are attempted at once without the correct balance. I’m not saying picking one or the other always spells success — writer/director Bryan Bertino‘s debut The Strangers ultimately failed at mysterious chaos despite some effective scares — but it does often allow a filmmaker the opportunity to focus and reinforce his/her idea with less chance of getting distracted. Bertino’s third film The Monster, however, suffers the same fate within the other camp. This one utilizes metaphor and flashback to depict a volatile mother/daughter relationship wherein the “monster” proves an embodiment of their worst selves. Unfortunately, this idea is never dug into further than its surface conceit. – Jared M. (full review)

Where to Stream: Amazon, iTunes, Google

Morris From America (Chad Hartigan)

Morris From America

Coming to Sundance with his tender character study This is Martin Bonner a few years back, director Chad Hartigan triumphantly returns with the coming-of-age comedy Morris From America, a stylistic leap forward that still retains a keen sense of humanity. Telling the story of our title character attempting to keep his identity while making friends in the foreign land of Germany, it’s also an acutely funny testament to single parenting and the specific bond it fosters when both sides put in their all. – Jordan R. (full review)

Where to Stream: Amazon Prime

Sing Street (John Carney)

Sing Street 1

Returning to Sundance after breaking out with his Oscar-winning, shoe-string romance musical Once, director John Carney is back on a victory tour of sorts with Sing Street. Imbuing the same love for music its emotional highs, this is a film more earnest in its pleasure-giving than his last feature, Begin Again. While the structure can be a touch too formulaic, it’s difficult to resist getting swept up in the music and its modest ambitions, for his new musical is acutely attuned to being a crowd-pleaser in all the right ways. – Jordan R. (full review)

Where to Stream: Netflix

Also New to Streaming


Come and Find Me
Hands of Stone
War Dogs (review)

Amazon Prime

A Monster with a Thousand Heads
The Sea of Trees (review)
Steve McQueen: The Man & Le Mans

MUBI (free 30-day trial)

Fulltime Killer
Breaking News
Les Apaches
Teddy Bear
Afghan Star


Black Book
Grosse Point Blank
O Brother, Where Art Thou?
The Recruit

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