New Movies on Hulu

Movies Lists Hulu
Share Tweet Submit Pin
New Movies on Hulu

Hulu has been slower than some of its competitors getting in the original movie game, focusing more on building its library of films and developing original series. But it’s done a better job of securing rights to new movies that have just finished their theatrical runs. We’ll keep a running tab on the newest Hulu movies, including both originals and first-streaming films.

Below are 10 newly added films from the streaming service. We’ll update the list as Hulu continues to produce new features and acquire the rights to recent films.

1. Death on the Nile

death-on-nile.jpg Hulu Release Date: March 29, 2022
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 Hulu

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


2. Deep Water

deep-water.jpg Hulu Release Date: March 18, 2022
Director: Adrian Lyne
Stars: Ben Affleck, Ana de Armas, Tracy Letts, Lil Rel Howery, Jacob Elordi
Genre: Thriller
Rating: R
Runtime: 116 minutes
Paste Review Score: 8.0

Watch on Hulu

The allure of sex, lies and crimes of passion are what will undoubtedly rope viewers into Deep Water—director Adrian Lyne’s first film in two decades—but the movie doesn’t exactly deliver on conventional fronts. Boiling over with the heat of forbidden desire, it also explores a tense and grisly possessiveness that only adds fuel to the fire, even as exactly whom this amorous tirade benefits remains murky until the very end. Considering Lyne’s previous work in the erotic thriller genre, some might find Deep Water disappointingly lacking in salacious sex scenes; however, this does not mean the film is absent eroticism. The tension that mounts between Ben Affleck and Ana de Armas’ characters—and those who watch their relationship dissolve from the margins—hurtles all involved into a deranged sensual game, one which doesn’t mind building a body count for the sake of getting off. Vic (Affleck) and Melinda (de Armas) lead a life that at first seems enviable. They have a sprawling manor in New Orleans with their precocious young daughter, while also maintaining a healthy social life dominated by a constant state of party-hopping. It becomes evident that the couple is obsessed with occupying their nights in the homes of their friends, lest they be confronted with the discomfort brewing within their own walls. An unspoken agreement between the couple has resulted in Melinda freely engaging in steamy affairs with a string of lovers, but they can’t seem to stop suddenly disappearing. While their arrangement might appear mutual, Vic is constantly distressed by the imbalanced dynamic, often feeling emasculated and pitied by his peers. While Melinda flouts these relationships in public, Vic retreats home to care for their house and daughter, creating a resentment that festers until it can’t help but erupt. Deep Water is a sweat-inducing psychological scheme that is constantly aiming to intrigue and titillate. The paperback pulp origins of Highsmith’s original story are kept intact, alleviating any semblance of eye-roll worthy ridiculousness that doesn’t at least try to make an interesting point. As each shocking revelation tacks on another clue in the sprawling mystery, the audience isn’t sure just who or what to believe—making the film’s fiery ending all the more jaw-dropping. —Natalia Keogan


3. Fresh

fresh.jpg Hulu Release Date: March 4, 2022
Director: Mimi Cave
Stars: Daisy Edgar-Jones, Sebastian Stan, Jojo T. Gibbs, Charlotte Le Bon, Andrea Bang, Dayo Okeniyi
Genre: Horror
Rating: R
Runtime: 114 minutes
Paste Review Score: 6.0

Watch on Hulu

App dating gets its Bumbling psychothriller with Fresh, a movie that Hinges upon its literal and allegorical human meat Grindr. Music video director Mimi Cave adds some glitz to Adam McKay disciple Lauryn Kahn’s script in her feature debut, but the film lacks the necessary bite either in its body horror or humor to truly pull off its cannibalistic commentary. To even get to the fun, Fresh asks a high price: Weathering Noa’s (Daisy Edgar-Jones) played-out dating app horror stories and a psychopathic meet-cute with grocery store creep Steve (Sebastian Stan) that’s clearly leading nowhere good. This goes on for a good half-hour—during which the starry-eyed and bland Noa claims Steve is cute (he is, in a movie star way), funny (he is not, even in a movie star way), and charming (he doesn’t openly neg her)—before we finally get to the title card and the meat (ha!) of the movie. It’s a bold move that would’ve worked wonders if it all didn’t feel a little predictable. As the movie unveils its bloody scenario, it plays into tropes to such an extent that it can feel like a sketch about Dating In The Modern World spun out from the idea of “What would really happen in 50 Shades of Grey?” Fresh comes off as a romance-gone-wrong riff that can be a little smart and a little nasty, but is never as bold or brutal as it needs to be to stand out from a genre constantly looking to self-reflect. While rarely feeling trite, its observations never feel fully invested in, be they dating metaphors, horror iconography or the inner/outer workings of a businesslike madman. It’s still a bit of a romp, but sacrificing both its logical plotting and dark humor with shortcuts (and not quite having an ending, just kind of stopping once it’s out of gas), cuts the legs out from under Fresh. —Jacob Oller


4. No Exit

no-exit.jpg Hulu Release Date: Feb. 25, 2022
Director: Damien Power
Stars: Havana Rose Liu, Danny Ramirez, Dennis Haysbert, Dale Dickey, David Rysdahl
Genre: Thriller
Rating: R
Runtime: 95 minutes
Paste Review Score: 6.0

Watch on Hulu

Circumstantial serendipity is always a shaky place to build a story premise upon. In No Exit, the mystery-thriller from director Damien Power based upon Taylor Adams’ novel of the same name, that conglomeration of destiny plays an outsized role in the coming together of recurring addict Darby Thorne (Havana Rose Liu), older marrieds Ed and Sandi (Dennis Haysbert and Dale Dickey) and travelers Ash (Danny Ramirez) and Lars (David Rysdahl) inside a remote rest stop during a blizzard. What ensues is intended to play out like a taut thriller with the strangers discovering secrets and lies that make this respite from the storm more like a Pandora’s box of increasing calamities and escalating stakes. The “box” in this scenario is actually a van with blacked-out windows in the rest stop parking lot. Darby finds herself there because she’s broken out of her Nth rehab stay once she finds out that her mom is in critical condition due to an aneurysm. In a stolen car trying to beat the storm in the mountains, an officer told her to wait out the storm at the rest stop. Thus, she tentatively gets to know her fellow travelers. It’s only when she ventures outside to find some cell coverage that she looks inside the van and finds a little girl, weeping and taped up in the back. Compelled to help her, Darby takes it upon herself to figure out the van’s owner and how to get the girl out during a raging storm without alerting the culprit. What should have been a clever little story just isn’t. Perhaps it’s because the first act unfolds like Power is purposefully leaving a trail of obvious breadcrumbs meant to make you question if what we’re observing should be accepted at face value. By the second act, it becomes more apparent that a duck is a duck. That’s where the paper-thin nature of the whole construct comes into focus, and let’s just say it flaps in the wind with some desperation—more so than the “blizzard” that’s supposed to be howling outside, which barely looks like a tiny squall. When all the dust, or drifts, have settled, No Exit tries to end on a note of redemption. But there’s a hollowness to it all because the movie doesn’t bother to include some actual, emotion-filled relationships to bookend Darby’s journey. Early on, all we get are cold phone calls and text messages to convey the bridges burned in her life, which reinforce Darby’s solitary persona throughout. Trying to turn that into something else without putting the work into the script is as jarring as bouncing off a locked door. —Tara Bennett


5. The King’s Man

kings-man.jpg Hulu Release Date: Feb. 18, 2022 (Originally released Dec. 22, 2021)
Director: Matthew Vaughn
Stars: Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, Tom Hollander, Harris Dickinson, Daniel Brühl, Djimon Hounsou, Charles Dance
Genre: Action/Adventure
Rating: R
Runtime: 131 minutes
Paste Review Score: 3.5

Watch on Hulu

Matthew Vaughn’s Kingsman series has always, more or less, done its job. The live-action treatment Vaughn gave to Mark Millar’s 2012 graphic novel series The Secret Service in 2015 provided audiences with a bloodier, cruder, more adult-oriented action blockbuster to offset the burgeoning stronghold of superhero films. The Kingsman, of course, are a different kind of superhero: A private intelligence service founded by members of the British elite, who lost their children during the first World War and decided to put their fortunes towards making the world a better place. The Kingsman, whose name derives from a fictional London tailors’ shop, are equipped with a charming array of everyday items that double as lethal weapons, impressively choreographed hand-to-hand combat, big name A-list actors, Sofia Boutella’s breakout as an ass-kicking double amputee, fun fight sequences set to pop songs and also Mark Strong looking very handsome. The conservative bent of Vaughn’s films has made the franchise’s attempt at politics more goofy than anything, but beyond that, both Kingsman: The Secret Service and its sequel Kingsman: The Golden Circle succeed at being exciting, entertaining, silly action fluff. So, it gives me no pleasure to report the The King’s Man, Vaughn’s attempt at prequelizing his series, has very little of any of the above livening details that made the first two films worth watching. Going off the aforementioned origins of The Kingsman faction, Vaughn takes us back to the early 1900s, during which the Duke of Oxford, Orlando (Ralph Fiennes) has crafted a wide-spanning network of hired help working for him as a covert intelligence operation. Twelve years following the death of his wife (who preached that “people born into privilege lead by example”) during the Boer War, Orlando—a pacifist who begrudges his fellow British upperclassmen, championing the unsung worth of the servant class—and his war-mongering son Conrad (Harris Dickinson) end up embroiled in a scheme concocted by an amusingly satirical league of The World’s Most Evil Guys. Said villain group includes real-life names like Rasputin, Lenin, Gavrilo Princip and Mata Hari. They’re led by a shadowy Scotsman who does all but twirl a handlebar mustache as he orchestrates the attempted decimation of the British empire—leading to the assassination of Archduke Franz Ferdinand and, naturally, World War I. The King’s Man is an off-putting installment in a series that should have already ended. A once-welcomed, R-rated departure from family-friendly blockbusters is now a reminder of an industry reluctant to unshackle itself from the safety of known IP. —Brianna Zigler


6. The Feast

the-feast.jpg Hulu Release Date: Feb. 18, 2022
Director: Lee Haven Jones
Stars: Annes Elwy, Nia Roberts, Julian Lewis Jones
Genre: Horror
Rating: NR
Runtime: 93 minutes
Paste Review Score: 6.0

Watch on Hulu

As the eye of the climate-change storm draws closer, the output of modern films has steadily amplified its reflection of humanity’s swelling eco-anxieties. And the first shot of director Lee Haven Jones’ feature debut, The Feast, is that of our own planet’s most formidable opponent: An ugly oil rig, situated smack dab in the center of a rolling pasture. It relentlessly pummels into the ground to procure that precious liquid gold, while the worker in charge of handling the machinery stands idly by, indifferent to the destruction at play. But the oil rig is as gawkily placed amidst the natural landscape as the multi-million dollar, rural Welsh home of Glenda (Nia Roberts) and her family: Wife to a member of Britain’s Parliament, mother to Guto (Steffan Cennydd), a junkie, and Gweirydd (Sion Alun Davies), a doctor-turned-triathlon trainee. With the hired help of Cadi (Annes Elwy)—a last-minute replacement for the local pub worker Glenda normally seeks out—Glenda prepares a sumptuous dinner meant to goad a longtime friend into selling her land for cash profit. On the side, Glenda and her husband Gwyn (Julian Lewis Jones) pillage untapped farmland for oil, with the help of their business associate Euros (Rhodri Meilir). In The Feast, Mother Nature fights back. Despite a scant, 90-minute runtime, The Feast is more than comfortable taking its time suffusing slow-burn tension, disturbing visual elements and murky folk horror into a film that’s foundation rests on creeping uncertainties—making The Feast pleasantly obscure and occasionally quite upsetting. This is sustained by the world as seen through the eyes of cinematographer Bjørn Ståle Bratberg, whose scenery is as richly textured in the countryside of Wales as in the pristine, vacant modernity of Glenda’s home. —Brianna Zigler


7. The Beta Test

the-beta-test-poster.jpg Hulu Release Date: Feb. 4, 2022 (Originally released Nov. 5, 2021)
Director: Jim Cummings, PJ McCabe
Stars: Jim Cummings, Virginia Newcomb, PJ McCabe, Olivia Grace Applegate, Wilky Lau, Kevin Changaris, Jacqueline Doke
Genre: Drama
Rating: NR
Runtime: 94 minutes
Paste Review Score: 7.8

Watch on Hulu

Jim Cummings tends to play men who refuse to lose control. His characters feel similar, but then so do many white, cisgender, heterosexual, elder millennial men—unable to wield power over their domain, they flail belligerently through these, their End Times. They find closure in slapping around a corpse (Thunder Road), or they turn to folklore and cryptozoology to explain a world they no longer understand at all (The Wolf of Snow Hollow). Everything is terrifying, everyone is watching, and the least noble thing any of them can do as the teeth rot from their mouths is rage against a universe that no longer wants them. So that’s what they do. In The Beta Test, his first feature with co-director/-writer PJ McCabe, Cummings is Jordan Hines, a Hollywood agent facing extinction. As talent agencies battle the Writers Guild of America over “packaging deals” and his whole career’s culture shifts out from under him, Jordan receives a handsome purple invitation in the mail promising a “no-strings attached sexual encounter with an admirer at The Royal Hotel.” His marriage to Caroline (Virginia Newcomb) looms—as do all things in the white millennial man’s life—and, as he’s fit and attractive and not uncommonly met by temptation in public, he can’t help but fantasize about whatever validation the purple letter offers. Are his fantasies even “OK” anymore? Why does no one seem to care when Raymond (Wilky Lau), a potential big international client, aggressively grabs Jordan’s crotch at a party? A white millennial man cornered by obsolescence—or worse, an obsolescence no one gives much of a shit about—will scratch and whine for scraps of satisfaction. Just any iota that someone gives about what he wants—that he matters. As an excoriation of masculinity, there isn’t much to The Beta Test that Cummings hasn’t explored before, and the long takes and bravura monologues that initially defined his voice as a filmmaker appear here, though more sublimated into the fabric of the film than in any previous feature. And his handle on genre remains deft but slippery. The Beta Test is an erotic thriller as devotedly as it’s a satire and an upsetting glimpse of a very specific dying breed of tinseltown phony. Which is much funnier than it sounds. Because everyone is watching and everything is terrifying. The Beta Test never attempts to refute how lame Jordan is, how ineffectually he inhabits this plane of existence, how much of a baby he is, how unhelpful he will be as the planet devolves into the kind of chaos where violence and oblivion just occur in the background. The film just celebrates Jordan’s delusions as exactly what they are: The only way to cope with a universe that no longer wants people like him around anymore. —Dom Sinacola


8. Beans

beans.jpg Hulu Release Date: Feb. 4, 2021
Director: Tracey Deer
Stars: Kiawenti:io Tarbell, Violah Beauvais, Paulina Jewel Alexis
Genre: Drama
Rating: NR
Runtime: 92 minutes

Watch on Hulu

In the late summer of 1990, a land dispute between the Mohawk people and the village of Oka, Quebec, turned violent, when courts allowed a developers to expand a gold course and add condos onto land the Mohawk claimed. Filmmaker Tracey Deer lived through the conflict and her first narrative feature recounts the events through a young preteen girl nicknamed Beans. Beans debuted at the Toronto Film Festival in 2020, playing several other festivals before getting distributed digitally by Hulu.


9. Nightmare Alley

nightmare-alley.jpg Hulu Release Date: Feb. 1, 2021 (Initial release: Dec. 17)
Director: Guillermo del Toro
Stars: Bradley Cooper, Cate Blanchett, Rooney Mara, Toni Collette, David Strathairn, Ron Perlman, Willem Dafoe
Genre: Thriller
Rating: R
Runtime: 150 minutes
Paste Review Score: 6.0

Watch on Hulu

Guillermo del Toro has asserted that he was not remaking the 1947 Nightmare Alley. Rather, he was adapting William Lindsay Gresham’s 1946 novel, which had many of its sharper “psychosexual” elements neutered in Edmund Goulding’s film of the same name a year later. “It was done during the code,” del Toro clarifies. Then he just comes out and says it: “So they really circumvented a lot of stuff that was pretty brutal in a good way.” If you’re familiar with Nightmare Alley, or with the differences between Gresham’s novel and Goulding’s less starkly bleak film, you’re likely to guess how, for the most part, del Toro does anything but circumvent the original’s brutality. The story of a smoldering drifter, Stan (Bradley Cooper), with a knack for manipulation and stage craft—del Toro’s version, written with partner Kim Morgan—presents the carnival as a microcosm of America at the dawn of World War II and on the brink of chaos. Stan shacks up with the aforementioned sideshow racket, learning the nuances of geek-taming from gravelly proto-carny Clem Hoately (Willem Dafoe), gaining the trust of old-hand mesmerists Zeena (Toni Collette) and her wet-drunk husband Pete (David Strathairn), and gaining the distrust of carnival strongman Bruno (Ron Perlman returning to the showbiz womb) because he’s falling in love with ingenue Molly (Rooney Mara), whom Bruno has sworn to protect from the various casual, roaming evils of this changing world (i.e., Stan). Though Bradley Cooper is a bit more submerged in his character than Tyrone Power was, del Toro uses his hunky A-lister in much the same way Goulding employed Power, witnessing a pretty face not just go against character, but seemingly devolve in spite of it. Similarly, Blanchett acts the commanding fatale, her chemistry with Cooper enough to forgive how little the film’s concerned with any other characters, or with characters at all. Blanchett at times seems immobile, or Rooney Mara an empty vessel, or Jenkins a blandly villainous magnate, or Cooper overcompensating for how on-rails the plot becomes, their inner lives just so much less vibrant than the world del Toro carefully creates around them. —Dom Sinacola


10. Sex Appeal

sex-appeal-hulu.jpg Hulu Release Date: Jan 14, 2022
Director: Talia Osteen
Stars: Mika Abdalla, Mason Versaw, Jake Short, Paris Jackson
Genre: Romantic Comedy
Rating: TV-MA
Runtime: 91 minutes
Paste Review Score: 5.8

Watch on Hulu

Meet Avery (Mika Abdalla). She’s top of her class, headed to MIT in the fall and gearing up to dominate STEMcon, AKA her very own version of prom. But Avery has a big problem, one that, in her eyes, threatens to completely overshadow her impressive academic accolades. Her long-distance boyfriend, hunky science-guy Casper (Mason Versaw), wants to take their relationship to the next level. The issue? Avery has no idea what goes where. Herein lies the chief tension of Sex Appeal. Every teen sex comedy’s got one, and Sex Appeal follows suit. The film dutifully gives this beloved subgenre a fresh face by drawing attention to its formula and the nitty-gritty minutiae of preparing to lose your virginity. In order to master the art of sex, Avery sets out to create an app that is guaranteed to help those wanting for sex to easily and skillfully hack the act. She recruits her childhood best friend Larson (Jake Short) for help, and the two embark in a flurry of perfectly awkward sexual experiments. A great deal of Sex Appeal’s appeal lies in its high-concept premise. A teenager who approaches losing her virginity like coding Java enhances the scientific makeup of a film that already has many elements of a successful comedy: A racy goal, huge margin for comical errors and mishaps, and a core that bubbles with romantic potential. But by the third act, Sex Appeal is so uncomfortably contorted in an effort to neatly package itself into a pre-established framework that it squanders that potential. A lot of this can be boiled down to one simple variable: Avery. Instead of portraying Avery as a normal teen who is nervous about her first sexual exploit (a very normal affliction), director Talia Osteen and screenwriter Tate Hanyok reduce her to a caricature—a decision born most likely from the knowledge that a character with cartoonishly clear wants, goals and personality traits will make the film’s message more easily decipherable. But when the go-get-the-guy moment inevitably rolls around, delivered hilariously by Rebecca Henderson (playing one of Avery’s moms and a general highlight of the film), it’s less about actually getting the guy, and more about Avery finally managing to find herself. If only the film wasn’t so intent on cramming itself into a small corner of the sex-comedy subgenre, stripping itself of nuance and logic in the process. —Aurora Amidon