New Movies on HBO Max

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New Movies on HBO Max

HBO Max’s strategy of releasing new movies from Warner Bros. simultaneously in theaters on its streaming platform for a limited time means new original films often get pulled from its library months after release. But Dune and King Richard recently returned to the lineup. Most of the movies HBO Max adds to its robust library each month are mostly older films. Still, there are a handful of new movies available at HBO Max, both brand-new Max Originals and other recent films it just added to its streaming collection.

Below are 10 new movies on HBO Max, plus a full list of everything getting added in May.

1. The Survivor

the-survivor.jpg HBO Max Release Date: April 27, 2022
Director: Barry Levinson
Stars: Ben Foster, Vicky Krieps, Billy Magnussen, Peter Sarsgaard, John Leguizamo, Danny DeVito
Rating: TV-MA
Paste Review Score: 7.2

Watch on HBO Max

In 1943, the now-legendary boxer Harry Haft competed in his first bout. Instead of an audience of cheering fans, he performed for a crowd of sadistic Nazis; instead of competing in an arena, his ring was a Polish concentration camp; rather than fighting another trained boxer, he threw punches at fellow Jewish prisoners until the blows killed them. Haft is one of the integral figures in the cruel and barbaric history of concentration camp boxing. Trained by an SS guard for his own entertainment, Haft was forced to compete in a grim total of 76 fights as a prisoner. But his story doesn’t end there. When he finally managed to escape the camp, Haft used his skills as a boxer to garner national attention by fighting legends such as Rocky Marciano, hopefully earning the notice of his lost—and presumed dead—love. The Survivor, directed by Barry Levinson from screenwriter Justine Juel Gillmer’s take on Harry Haft: Auschwitz Survivor, Challenger of Rocky Marciano, tells the athlete’s stranger-than-fiction story in flashback. The bulk of The Survivor takes place in 1949, with Harry (Ben Foster) in the throes of his professional boxing career. Scenes of Harry’s present consistently waltz around his past, not allowing the viewer to forget the atrocities that he suffered in the concentration camps. In attempting to give The Survivor a more precise aim, Levinson falls into campy flashbacks and predictable dialogue. But for a story about humanity and the good and bad of people, the film is also satisfyingly character-driven, which ends up being its saving grace; beautifully strange and nuanced performances give it the direction it needed from the start. —Aurora Amidon


2. Tony Hawk: Until the Wheels Fall Off

tony-hawk-wheels.jpg HBO Max Release Date: April 4, 2022
Director: Sam Jones
Rating: PG-13
Runtime: 156 minutes
Paste Review Score: 7.4

Watch on HBO Max

Tony Hawk is the best-known and most accomplished skateboarder in the world, and his career has been a storied journey to greatness. As with a lot of famous people and their crafts, the general public only really knows half the battle in Hawk’s quest to conquer the art of skateboarding. They don’t know the toll this life, and the deep devotion within it, has taken on the skater’s mind, body and emotions of his loved ones. That’s where Tony Hawk: Until the Wheels Fall Off comes in. It’s a reckoning of passion told by those who best understand the price of that love story: Hawk, his loved ones and his peers on the board. The new HBO Max documentary from director Sam Jones follows Hawk’s career from his small-fry childhood to his competitive skater days to his world-champion, biggest-in-the-game dominance to now. It is a fully-fledged journey through the athlete’s hopes, dreams, fears, obstacles and reflections. The film relies on the typical documentary stylings—never-before-seen archival footage, photographs and new first-hand interviews with the subject and others important to his story—but it’s a major asset to this film even if the tactic might seem tired in others. Despite knowing my fair share about early skate culture, especially in the ’70s and ’80s when it was really discovering itself and what it would become, the typical docu-methods used in this film felt less stale and overused to me than they might have without a prodigal story to build on. The never-before-seen footage of Hawk trying his hand at different ramps and bowls throughout his childhood and adolescence is exciting at its base in the same way that it’s exciting to watch a sport you love. But when you add in the fact that you’re watching a legend at his inception, it makes the clips that much more incendiary. The accompanying interview commentary that walks you through Hawk’s emotional and physical struggles on and off the board throughout his come-up only adds to the rush of excitement you feel watching him become a master of his field. —Lex Briscuso


3. Moonshot

moonshot.jpg HBO Max Release Date: March 31, 2022
Director: Chris Winterbauer
Stars: Cole Sprouse, Lana Condor, Mason Gooding, Emily Rudd, Zach Braff
Rating: PG-13
Runtime: 104 minutes
Paste Review Score: 5.7

Watch on HBO Max

Moonshot, from director Chris Winterbauer, forces together two romance-adjacent up-and-comers (Lana Condor of To All the Boys I’ve Loved Before and Cole Sprouse of Riverdale) in order for them to question their ambitions, their current relationships and their present infatuation. Giving it all a sci-fi coat of paint—colorful jumpsuits, sliding Star Trek doors, snippets of interplanetary CG scene-setting—can’t cover up how standardized Max Taxe’s script feels, nor the sparklessness of its leads. Unfortunately, even though Moonshot aims high, its misfire falls all the way back down to humble terra firma. Sprouse’s Walt spends his days pining after Mars, partially colonized by his local college’s space program, and slinging lattes. He’s singularly focused and singularly unskilled—his 30-odd applications have all been rightly rejected, while his snippy robo-manager at the coffee shop has been programmed with ten times his personality. He runs into Sophie (Condor) by earthbound happenstance, crunching the device she uses to communicate with (and pine after) her long-distance Martian boyfriend. The pair’s antagonistic meet-cute culminates in an unlikely scheme to sneak Walk aboard her flight to Mars, with both parties looking to visit a significant other…or at least using their significant others as excuses to leave their sad lives behind. Moonshot’s interests lie in remapping its ancient premise onto the #wanderlust generation. Life is a constant grass-is-greener journey to some Other destination, though exactly where or why doesn’t matter. The goal is simply to never stop moving. To be liminal is to have the excuse of still being a work-in-progress; to settle down is to confront reality. Sophie and Walt’s well-worn route through their rom-com might take them to the stars, but their need for constant bland “adventure”—just like our need to follow the same arcs we’ve watched for decades, now featuring interstellar imagery—reveals a sad fear of actually facing something new. —Jacob Oller


4. Death on the Nile

death-on-nile.jpg HBO Max Release Date: March 29, 2022 (Originally released Feb. 11)
Director: Kenneth Branagh
Stars: Kenneth Branagh, Gal Gadot, Armie Hammer, Emma Mackey, Tom Bateman, Annette Bening, Russell Brand
Genre: Mystery
Rating: PG-13
Runtime: 128 minutes
Paste Review Score: 7.5

Watch on HBO Max

When it comes to detective stories, it’s pretty much impossible to find better IP than that of prolific author Agatha Christie, who had a firmer grip on what makes a successful murder-mystery than anyone before or after her. In 2017, Branagh adapted Christie’s 1934 novel Murder on the Orient Express, which follows a murder that occurs on, well…the Orient Express. Esteemed detective Hercule Poirot, played by a fiercely mustachioed Branagh, swoops in to save the day, and makes it his noble mission to figure out whodunnit. Orient Express proved my theory that it’s pretty difficult to royally screw up a Christie novel: The film’s pacing is achingly slow, its characters sorely lack dimension, and yet it still boasted $352 million worldwide at the box office Death on the Nile begins with a freshly engaged couple, Jacqueline de Bellefort (Emma Mackey) and Simon Doyle (Armie Hammer), crooning over one another in a night club. Three months later, a swarm of people show up to Simon’s wedding, only it is not Jacqui he is getting married to, but inordinately wealthy heiress Linnet Ridgeway (Gal Gadot). The newlyweds and their wedding party embark on a luxurious honeymoon cruise down the River Nile, but when a jealous Jacqui shows up and a murder is committed, things quickly devolve into chaos—a chaos that can only be abated by Detective Poirot (played once again by Branagh with the assistance of his epic mustache). By virtue of the fact that it circles a nearly inscrutable mystery, Death on the Nile is undeniably engrossing. But what really sets it apart from its predecessor is, where Orient Express didn’t manage to find its footing until there was a mystery to be solved, Branagh makes sure to cast its sequel’s net beyond its core brainteaser. Indeed, Branagh takes care to engross us in the film’s central love triangle long before the murder even occurs. —Aurora Amidon


5. King Richard

king-richard.jpg Returned to HBO Max: March 24, 2022
Director: Reinaldo Marcus Green
Stars: Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn, Jon Bernthal
Genre: Drama
Rating: PG-13
Runtime: 144 minutes
Paste Review Score: 5.7

Watch on HBO Max

King Richard is a movie about the ends justifying the means. It’s a movie about bootstraps and hard work and outsiders overcoming odds through persistence. It’s also one about cherry-picking, hypocrisy and smoothed edges. But it barrels through those parts. Doesn’t let them stick. As we learn, the movie is a lot like Richard that way. Its incurious approach to telling the making-of story behind two of history’s most dominant athletes, tennis titans Venus and Serena Williams going from Compton to Wimbledon, sadly fits the expectation when it comes to authorized biopics. Though director Reinaldo Marcus Green finds winning performances away from his lead, the milquetoast script serves the tennis patriarch a soft lob—one without potential to inspire or excite, and one that’s constantly reminding us that we already know how it ends. It’s hard to generate too much lasting conflict around the young careers of Venus (Saniyya Sidney) and Serena (Demi Singleton) when their place in the record books is so firmly and recently established. It’s never a question of “Will this all work out?” no matter how many doubters or environmental obstacles screenwriter Zach Baylin puts in their father’s way. That there’s not much else to the film—no insight into the pair or their family, aside from the rah-rah Richard show—explains why it all feels so lifeless. At its core is Will Smith’s portrayal of Richard Williams, obsessive and confident father of Venus and Serena (as well as many others whose abilities apparently didn’t inspire him to create/devote his life to a meticulous plan for their careers), which is well-researched, consistent and feels as much like a costume as his tiny little ’80s short-shorts. Sure, everything in King Richard is probably true. A few things might be embellished and filmmaking may have condensed some events. But because of its myopic perspective, its aggrandizing and glossing insistence that it was all equally worth it in the end, it consigns everything and everyone around its core to the fringes. And that means none of it seems real. —Jacob Oller


6. Dune

dune-poster.jpg Returned to HBO Max: March 10, 2022 (originally released Oct. 22, 2021)
Director: Denis Villeneuve
Stars: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Josh Brolin, Stellan Skarsgård, Dave Bautista, Jason Momoa
Rating: PG-13
Runtime: 155 minutes
Paste Review Score: 7.2

Watch on HBO Max

Both technologically innovative and narratively faithful to the original text, Denis Villeneuve’s Dune is bolstered by its seamless special effects and starpower above all else. Considering the director’s previous work in these arenas—namely Enemy, Arrival and Blade Runner 2049—he should be totally adept for the challenge. Yet there exists a nagging query that begs to be quelled: How much of this film is predicated on the sheer fact that cinematic advancements have finally rendered Dune an attainable possibility? Though it remains true to the first part of the text’s unhurried pace and detailed world building, Villeneuve’s adaptation feels overlong and void of subtext. It’s important to note that the film only adapts the first part of Herbert’s novel, which is notoriously kind of a slog. Much of the plot is focused on worldbuilding and creating an incremental immersion into the immaterial political hierarchies that shape this unknown yet familiar world. Admittedly, Villeneuve evokes and embraces this unhurriedness—a choice that just might predicate Dune’s future fortune. By limiting the scope to Part I, Villeneuve’s Dune maintains a consistent tone and sense of time—though it invariably drags over the course of two and a half hours. However, the meandering pace may perfectly suit fans of the original novel, which captures a certain pensive density indicative of the text. To be fair, there is a plain reason as to why Villeneuve opts for a subdued and sedated Dune. With so many failed attempts at adapting Herbert’s novel preceding it, how could the project ever fully embrace auteur-driven artistic risk? It translates as Villeneuve playing it safe, expending all of his energy on ensuring that his remake can’t possibly flop. Though Dune is faithful and fantastical in vision, its existence is merely proof that the enduringly popular novel can, in fact, be adapted into a box office hit.—Natalia Keogan


7. The Batman

the-batman.jpg HBO Max Release Date: March 4, 2022
Director: Matt Reeves
Stars: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Jayme Lawson, Andy Serkis, Colin Farrell
Rating: PG-13
Runtime: 176 minutes
Paste Review Score: 6.8

Watch on HBO Max

The evolution of Batman’s dark screen presence has finally reached the place where he’s able to fade into the shadows completely. Tim Burton’s take on Batman was brooding, fetishistic and deeply weird. Christopher Nolan’s was brutal, techy and paranoid. Zack Snyder’s was weathered, faithless and cruel. And now Matt Reeves’ The Batman is dour and wounded, the newly cowled hero’s adolescent attempts at heroism undermined by sullen single-mindedness. He’s not yet an action figure, but not quite a human. He’s in over his head, stuck in a nearly three-hour detective story that overvalues both realism and style—a movie with plenty of good ideas about how it could tell a Batman story, but one that stitches them together in a way that leaves you wondering how it got those scars. Its Batman nearly dissolves into the night, overwhelmed by and acquiescent to his film’s own noirish ambitions. The Batman’s crime story—of mob bosses like Carmine Falcone (John Turturro), crooked cops and serial killers—echolocates its tone somewhere between “Ave Maria” and “Something in the Way,” propelled by a Michael Giacchino theme as slow and percussive as the plodding, metallic footsteps of Robert Pattinson’s clunky, inevitable advance. His Bruce Wayne calls himself vengeance, a big title for a guy in his second year of fighting crime. But a corner of Gotham knows him already. When we’re introduced to the movie, in the film’s best sequence, Batman’s reputation lurks in every shadow. We’re made to understand what will eventually come to define the character: Batman is your own guilty fear, reflected back at you from the void. The Batman is ambitious and dedicated to its vision, but despite some rather obvious clues, it can’t crack how to make the World’s Greatest Detective seem like one at all. Rather, we just have another passable Batman, not different enough to outrun his legacy’s ever-growing shadow. —Jacob Oller


8. West Side Story

west-side-story-2021-poster.jpg HBO Max Release Date: March 2, 2022 (Originally released Dec. 10, 2021)
Director: Steven Spielberg
Stars: Ansel Elgort, Rachel Zegler, Ariana DeBose, David Alvarez, Mike Faist, Brian d’Arcy James, Corey Stoll, Rita Moreno
Rating: PG-13
Runtime: 156 minutes
Paste Review Score: 9.1

Watch on HBO Max

Shoot it loud and there’s music playing; shoot it soft and it’s almost like praying: Steven Spielberg’s West Side Story pumps the classic for exactly that, classicism, by milking the musical’s dynamics for maximum expressiveness. Its romance? At its most tender. Its dance? At its most invigorating and desperate. Its songs? As if “Maria” or “Tonight” needed another reason to stick in your head, they’re catchier than ever. Even if you don’t know the lyrics, you know the snaps. And you won’t even need that level of familiarity to get swept up. Spielberg’s been working up to a full-throated musical for decades and he comes at this movie like he’s got something to prove: If there was ever any doubt that he’s a cinematic peer to Leonard Bernstein and Stephen Sondheim, West Side Story sets it firmly aside. It’s a stunning, loving spectacle that confidently scales the fence right to the top of the movie-musical pack. Justin Peck, choreographer of the New York City Ballet, highlights the characters’ simmering physical threat and sexual power (not mutually exclusive among the charged dancers) by making the most of his performers’ long limbs and extravagant costumes. Bright dress ruffles and beefy arms twirl in magical, powerful symmetry. Spielberg, in turn, stages the numbers to fully explore the space (when sparring in the salt warehouse or on the dance floor) or lack thereof (when melting hearts in Tony and Maria’s fire-escape rendezvous). Nearly every shot is foregrounded with impediments, be they chain-link fences keeping the boys trapped in their circumstances, onlookers framing spotlit dancers, or wrought iron grating separating lovers. It’s a city, after all. Cluttered. Messy. Full of people, things—and potential. Attraction. Camaraderie. Respect. Encapsulated in stand-offs and close-up faces. These are shots that already look like classics, not because they mimic the 1961 film (though Spielberg’s clearly a fan and nods its way in a few key moments), but because they look like they were dreamed, planned and pulled off. You can feel the achievement, yet there’s nothing stagey here: The film’s two-and-a-half hours either zip along or linger so closely around the campfire glow of its couple’s radiating affection that you’d happily stay with them all night. With Rachel Zegler as Maria, surrounded by other scene-stealers performing some of Broadway’s best, it also feels like a sure-fire hit. If you’ve never been a musical person, here’s your way in. If you’re already a convert, Steven Spielberg will make you love West Side Story all over again.—Jacob Oller


9. Drive My Car

drive-my-car-poster.jpg HBO Max Release Date: March 2, 2022 (Originally released Nov. 24, 2021)
Director: Ryusuke Hamaguchi
Stars: Hidetoshi Nishijima, Masaki Okada, Toko Miura, Reika Kirishima, Park Yurim, Jin Daeyeon
Rating: NR
Runtime: 179 minutes
Paste Review Score: 8.3

Watch on HBO Max

The melodic rotating faces of tire rims and cassette reels keep the time in Drive My Car, Japanese director Ryusuke Hamaguchi’s languorous adaptation of Haruki Murakami’s short story of the same name. The film’s meticulous commitment to unhurried emotional introspection might appear to be an overindulgence when considering its three-hour runtime, yet Hamaguchi and co-writer Takamasa Oe gracefully unfurl Murakami’s original story into a melancholy meditation of pain and performance that remains ever-enthralling. Renowned theater actor-turned-director Kafuku (Hidetoshi Nishijima) and his screenwriter wife Oto (Reika Kirishima) have what seems like a perfect relationship. Apart from sharing considerable marital bliss, they stimulate each other intellectually and sexually—oftentimes simultaneously. Oto will regularly weave narrative webs aloud while mid-coitus with Kafuku, reaching climaxes in literal and figurative senses. Despite the mutual adoration, both harbor a damning secret: Oto sustains a string of lovers as she hops around on productions, while Kafuku silently uncovers his wife’s infidelity without confronting her. Both maintain the facade of a remarkably happy couple that have been together for over 20 years, yet internally struggle with the emotional toll of concealing the extramarital affairs. The situation is only brought to a head years later, after Oto sustains a mortal injury and Kafuku covertly recognizes one of Oto’s past lovers at an audition for his forthcoming multilingual production of Chekhov’s Uncle Vanya. Simultaneously consumed by jealousy and intrigue, Kafuku casts his wife’s much-younger former paramour Takatsuki (Masaki Okada) in the titular role. The loneliness inherent in living through guilt-ridden grief is perhaps the most palpable aspect of Hamaguchi’s latest drawn-out feature. However, it is also the open embracing of this desolation that eventually yields the most tender and subtly exuberant results. It is through communal mourning—for lives (and lovers) shared or for the unknowable misfortunes of others—that ultimately binds us as human beings. —Natalia Keogan


10. Kimi

kimi.jpg HBO Max Release Date: Feb. 10, 2021
Director: Steven Soderbergh
Stars: Zoë Kravitz, Byron Bowers, Rita Wilson, India de Beaufort, Emily Koruda, Jaime Camil, Jacob Vargas, Derek DelGaudio
Rating: R
Runtime: 89 minutes
Paste Review Score: 7.5

Watch on HBO Max

Some of our most timely cultural anxieties are mined from and mirrored in Kimi, the latest crime thriller directed by Steven Soderbergh. Not only does the film focus heavily on the insidious side of the tech industry and its panopticonic nature, but it candidly addresses the reality of the pandemic and the apprehension inherent in “returning to normal.” Written by seasoned screenwriter David Koepp, it packs a punch in all the right places—but falls just short of saying something truly salient about the topics it tackles. However, Zoë Kravitz playing an endearingly awkward agoraphobe is always entertaining to watch, and often elevates the film in spots where it otherwise might flounder. Angela (Kravitz) lives a seemingly idyllic work-from-home lifestyle. Her enormous Seattle apartment is well-decorated and pristine, she adheres to a workout regimen on gym-grade personal equipment, and is issued a plethora of flashy gadgets due to her tech industry job. Akin to a Facebook moderator (which she actually alludes to having been employed as in the past), Angela listens in on audio streams captured by an Alexa-like personal assistant named Kimi, particularly those which have been reported as having unsuccessfully processed user requests—such as not recognizing the title of a Taylor Swift song or crude, prepubescent taunts. Though Angela seems to have it relatively made, this lifestyle is one she forges out of necessity as opposed to leisure: A longtime agoraphobe, she’s pretty much restricted to a life entirely conducted from within her apartment, the only tangible human interaction in her day to day life stemming from one-note FaceTime calls and people-watching through her enormous loft windows. When Angela stumbles upon what sounds like a violent crime being committed during one of her routine streams, she reaches out to her employer immediately to report the audio. Dismayed at the company’s relative lack of concern—and realizing that there’s only so much she can do from the protective comfort of her abode—Angela decides to investigate the issue solo, which involves trekking around Seattle despite her intense aversion to being in public. Unfortunately for Angela, her prying makes her an unwitting target for a conspiracy much larger than she could have imagined. Kravitz plays Angela with gangly gusto, never reducing her to a nervous caricature while still playing up the comedic elements of her ordeal. What really registers as misguided in Kimi, though, is the over-insertion of the titular product, particularly in the homes of techies who by nature would be much more wary of inviting an ever-listening device into their homes—but that level of inconsistency is just part of Kimi’s ridiculous, tension-riddled fun. —Natalia Keogan


Here’s everything new to HBO Max in May:

May 1:
Yellowface: Asian Whitewashing and Racism in Hollywood, 2019
47 Ronin, 2013
Assassins, 2020 (HBO)
At Close Range, 1986 (HBO)
An Autumn Afternoon, 1962
The Big Sleep, 1946
Back To School, 1986
Bottle Rocket, 1996
Calladita, 2020 (HBO)
Chitty Chitty Bang Bang, 1968 (HBO)
Child 44, 2015 (HBO)
Chungking Express, 1994
The Color Purple, 1985
Conan The Barbarian, 2011 (HBO)
Devil in A Blue Dress, 1995
Dodes ‘Ka-Den, 1970
Domino, 2019 (HBO)
Downhill, 1927
Dragnet Girl, 1933
Early Spring, 1956
Early Summer, 1951
The End of Summer, 1961
Equinox Flower, 1958
Eraser, 1996
Fallen Angels, 1995
Floating Weeds, 1959
FRIDA, 2002 (HBO)
The Fugitive, 1993
Furry Vengeance, 2010 (HBO)
Gang Related, 1997 (HBO)
Good Morning, 1959
Hard Rain, 1998 (HBO)
Hart’s War, 2002 (HBO)
High and Low, 1963
Jimmy Neutron Boy Genius, 2001 (HBO)
Julie, 1956
Killers, 2010 (HBO)
Language Lessons, 2021
Love and Baseball, 2021
The Machine That Kills Bad People, 1952
Masters Of The Universe, 1987 (HBO)
The Missing, 2003 (HBO)
The New Guy, 2002 (HBO)
North Dallas Forty, 1979 (HBO)
Not Easily Broken, 2009
The Perks of Being a Wallflower, 2012
Poseidon, 2006
Red Beard, 1965
Ringo and His Golden Pistol, 1966
Rugrats Go Wild, 2003 (HBO)
Rugrats In Paris: The Movie, 2000 (HBO)
The Rugrats Movie, 1998 (HBO)
The Sapphires, 2012 (HBO)
Sense and Sensibility, 1995
Sliding Doors, 1998
St. Elmo’s Fire, 1985
The Stepford Wives, 2004 (HBO)
Street Fighter: The Legend of Chun-Li, 2009 (Extended Version)
Terminator 2: Judgment Day, 1991 (Director’s Cut) (HBO)
Tokyo Twilight, 1957
Top Secret!, 1984 (HBO)
Transporter 3, 2008 (HBO)
Unbroken, 2014
Underworld, 2003
Underworld: Awakening, 2012
Underworld: Rise of the Lycans, 2009
Welcome to the Dollhouse, 1995
W.E., 2011 (HBO)
What To Expect When You’re Expecting, 2012 (HBO)
The Wild Thornberrys Movie, 2002 (HBO)
You, Me and Dupree, 2006
Young Adult, 2011 (HBO)
Zathura: A Space Adventure, 2005

May 3:
Spring Awakening: Those You’ve Know, Documentary Premiere (HBO)

May 5:
Las Bravas F.C., Max Original Season 1 Premiere
Queen Stars Brazil, Max Original Season 1 Premiere
The Staircase, Max Original Limited Series Premiere

May 6:
Dear Evan Hansen, 2021 (HBO)
Entre Nos: Carmen and Alfred (HBO)
La Afinadora De Árboles, 2019 (HBO)

May 7:
We Baby Bears, Season 1 Part C

May 9:
Get Hard, 2015

May 10:
Catwoman: Hunted, 2022
The Matrix: Resurrections, 2021 (HBO)
Sesame Street Mecha Builders Season 1 Part A
Robot Chicken Season 11 Part B

May 12:
Hacks, Max Original Season 2 Premiere
Who’s By Your Side, Max Original Season 1 Premiere

May 13:
Hank Zipzer, 2014
Old, 2021 (HBO)
Smalls, Season 4

May 15:
The Time Traveler’s Wife, Drama Series Premiere (HBO)

May 17:
Sesame Street Mecha Builders, Season 1 Part B
The Mule, 2018 (HBO)

May 20:
Identidad Tomada, 2020 (HBO)

May 22:
Fast Foodies, Season 2

May 23:
Teen Titans Go! Season 7 Part B

May 26:
Navalny
That Damn Michael Che, Max Original Season 2 Premiere
Tig n’ Seek, Max Original Season 4 Premiere

May 27:
Blippi Special
Blippi Visits
Blippi Wonders
Blippi: Learn With Blippi
Ghost, Season 1
Ghost, Season 2
Stath Lets Flats

May 29:
The Misery Index Season 3 Part B, 2021

May 31:
Miami Vice, 2006 (Extended Version)