The 22 Best New Movies Streaming in February 2025

It’s a new month, and that means new movies on streaming. There are bountiful picks on everything from Netflix to Max to Prime Video to Apple TV+ this month, including a new horror-thriller starring Miles Teller and Anya Taylor-Joy, a bevy of romantic films for Valentine’s Day and some of the best films of the last few years newly added to your favorite streaming service.

Check out our picks for the best new movies streaming in February 2025 below.

“Kinda Pregnant”

Netflix – Feb. 5

Happy Madison isn’t just for Adam Sandler comedies. Sometimes it’s responsible for Amy Schumer comedies too! In “Kinda Pregnant,” Schumer stars as “a woman who gets so jealous of her best friend’s pregnancy that she starts to wear a fake baby bump of her own,” according to Netflix. The movie was directed by Tyler Spindel, who happens to be Adam Sandler’s cousin and is an in-house director for Happy Madison and Netflix, having helmed “Father of the Year,” “The Wrong Missy” and “The Out-Laws” before this. Starring alongside Schumer are Jillian Bell, Will Forte, Damon Wayans Jr., Alex Moffat, Joel David Moore and more. And Schumer isn’t just starring in “Kinda Pregnant,” she also co-wrote the script (with Julie Paiva) and produced the film as well. But what will happen she her ruse is discovered? Only one way to find out. – Drew Taylor

“Piece by Piece”

Peacock – Feb. 7

On one hand, “Piece by Piece” is a fairly straightforward autobiographical music documentary, with Pharrell Williams talking about the highs and lows of his life, complete with celebrity talking head interviews and musical interludes. On the other hand, it’s much weirder, because Williams and his director Morgan Neville decided to render the whole thing with LEGOs (or, at the very least, LEGO-inspired animation). That makes things remarkably more compelling, especially when the expressiveness of the concept is really utilized, like in a moment when Daft Punk, piloting a giant spaceship, beam Pharrell up, pulling him out of his doldrums both literally and metaphorically. (Sadly, they were not interviewed for the movie.) There are some elements of the movie that might chafe, especially if you are following the news, like the lovey-dovey relationship between Pharrell and his former Neptunes partner Chad Hugo which has been strained to the point of litigation. Or the uplifting climax, which is set at Pharrell’s annual musical festival, which was canceled around the time the movie was released. But things will always be glossed over in an artist-approved documentary. At least “Piece by Piece” is ridiculously fun to watch. – DT

“We Live in Time”

Max – Feb. 7

Andrew Garfield and Florence Pugh star in the time-shifting weepy “We Live in Time,” which charts the course of a relationship in non-linear fashion. A scene of Garfield and Pugh’s characters first meeting may be followed by a scene of them with their child before then flashing back to the beginning of their relationship. The structure maximizes the impact of the film’s emotional thrust, which finds Pugh’s character diagnosed with cancer. The movie hails from “Brooklyn” director John Crowley so have tissues at the ready. – Adam Chitwood

“Bridget Jones: Mad About the Boy”

Peacock – Feb. 13

Internationally, “Bridget Jones: Mad About the Boy,” the fourth (and supposedly final) installment in the film series that began way back in 2001 with the original “Bridget Jones’s Diary.” Renée Zellweger returns as the title character, along with series mainstays Hugh Grant, Jim Broadbent, Gemma Jones and Colin Firth, along with Emma Thompson (who was introduced in “Bridget Jones’ Baby”). Newcomers include Leo Woodall, Isla Fisher, Nico Parker and Chiwetel Ejiofor, as Bridget’s new potential love interest. Expect lots of comedic prat falls and a fair amount of pathos, as Bridget is still dealing with the death of her husband. This might be the movie event of Valentine’s Day. – DT

“SLY LIVES! (aka The Burden of Black Genius)”

Hulu – Feb. 13

Ahmir “Questlove” Thompson is crushing it. Just a few weeks after his excellent “Ladies & Gentlemen… 50 Years of SNL Music” dropped on Peacock, the musician and “Tonight Show” band member (of influential hip hop band The Roots) is back with another music-focused documentary, this time exploring the legacy of Sly and the Family Stone. The new doc, a production of Disney’s Onyx Collective, premiered at Sundance to warm reviews, with most noting that it is a noticeable step up from most music documentaries. The doc combines archival footage with talking head interviews from Andre 3000, D’Angelo, Chaka Khan, Q-Tip, Nile Rogers, Jimmy Jam and Terry Lewis, George Clinton, Ruth Copeland and Clive Davis. It’s one of this month’s most anticipated documentaries. Get ready to groove. – DT

“Broken Rage”

Prime Video – Feb. 13

This is one of the must-sees of the month – a new feature from the legendary Takeshi Kitano (who directs and stars) that splits its runtime into two segments. The first segment is a more grounded crime thriller about a hitman that is trapped between law enforcement and the yakuza. In the second half, “the gritty crime-action thriller takes an unexpected turn, evolving into a self-parodying comedy that retells the same story with a captivatingly humorous touch,” according to the official synopsis. When the movie premiered at Venice last year, it was warmly reviewed. Now it’s making its global premiere and we couldn’t be more jazzed – for both halves! – DT

“The Gorge”

Apple TV+ – Feb. 14

What’s in “The Gorge?” That’s the central mystery of this large-scale romantic action adventure, which stars Miles Teller and Anya Taylor-Joy. They each play shadowy operatives – he’s from America, she’s from Russia – who live in watchtowers on either side of a misty abyss. Their job is to keep what is in the gorge from coming out. They are forbidden from communicating with each other but, of course, they do. And eventually they meet up, which has some dire consequences all its own. “The Gorge” was directed by Scott Derrickson, who knows how to make large scale entertainment that balances spookiness with more traditional action thrills (see also: “Doctor Strange”). Here he stages the action well and knows how to dole out details about the underlying mysteries of the Gorge. It helps that he has such a game cast – both Teller and Taylor-Joy are wonderful, with a guest appearance by a menacing Sigourney Weaver as the woman who hires Teller. And as creepy as the Gorge looks, it sounds even more disconcerting, thanks to another banger of a score by Trent Reznor and Atticus Ross. – DT

“Flow”

Max – February 14

Chances are, even if you haven’t seen “Flow,” you’ve at least heard of it. The little animated movie that could debuted at the Annecy Film Festival last summer, before slowly becoming a critics darling and, with $14.5 million at the global box office, a sleeper hit. Gints Zilbalodis, who wrote, directed, produced, staged and co-composed the music, created the animated movie, about a group of animals struggling to survive a planet-wide flood, using over-the-counter, free-to-use software. It gives the movie an aspirational dimension – like you could do it yourself. (You definitely could not.) Zilbalodis purposefully simplified the designs of the animals so that you could read whatever you wanted into them and didn’t use dialogue, because he felt that would create unnecessary distance. The resulting film is absolutely gripping, full of whirling camerawork and high danger. It’s also a two-time Academy Award nominee, for Best Animated Feature and Best International Feature Film, the first movie ever to do so. The fact that it’s only one of the impressive things about the movie speaks volumes to just how special “Flow” really is. – DT

“Watchmen: Part II”

Max – Feb. 17

The second half of the animated adaptation of Alan Moore and Dave Gibbons’ hugely influential “Watchmen” coming book series finally arrives on streaming (it was available on digital at the end of last year). This section starts with Rorschach (voiced by Titus Welliver) in prison and continues to the big, bloody, squid-filled climax in New York City. This adaptation of the original comic was written by “Babylon 5” creator J. Michael Straczynski and niftily animated by Studio Mir (who were responsible for Disney’s “X-Men ‘97” and Max’s “Harley Quinn”). Between the Zack Snyder movie (and its multiple iterations), the HBO series (which served as a spin-off and sequel) and the various comic book events like “Before Watchmen” and “Doomsday Clock,” and we are living in the golden age of “Watchmen.” Alan Moore, who has scrubbed his name of any adaptation and spoken out against the Emmy-winning series, must be so mad. – DT

“The Crow”

Starz – Feb. 19

They said it couldn’t be done. It looked like it would never be done. But here we are, with a brand-new remake of “The Crow.” Based on James O’Barr’s comic book of the same name and the 1994 film, which is one of the best movies of the decade (but is perhaps most remembered for the tragic, on-set death of lead Brandon Lee). Director Rupert Sanders, an impressive visual stylist who made “Snow White and the Huntsman” and “Ghost in the Shell,” cherry-picks what he wanted from the original (the idea of a resurrected lost soul, a crow sidekick) while adding new elements (a greater emphasis on the afterlife itself, a devil’s bargain that will allow the Crow’s lost love to return). Leads Bill Skarsgård and FKA Twigs handle the material admirably and there are a few show-stopping set pieces, including the Crow violently interrupting an opera. This is worth a watch just to see the new take on the material. – DT

“Elevation”

Max – Feb. 21

This is, sadly, not a feature-length adaptation of the 2001 U2 single that first appeared on the “Tomb Raider” soundtrack. But it is, happily, a film that stars Anthony Mackie, Morena Baccarin and Maddie Hasson about a bunch of monsters that are terrorizing people in a post-apocalyptic future. It seems somewhat “Quiet Place” adjacent, only this time instead of sound the creatures don’t go above a certain – wait for it! – elevation. Of course, our characters have to travel below the barrier, where the creatures are running around and eating people (we assume). Talk about being stuck in a moment you can’t get out of! “Elevation” was directed by George Nolfi, who worked on the screenplay that would become “Ocean’s Twelve,” and made “The Adjustment Bureau,” a movie with Matt Damon, Emily Blunt and magic hats. Anyway, “Elevation” seems like fun. It will certainly make you think about all that you can’t leave behind. – DT

“The Nice Guys”

Netflix – Feb. 1

Ryan Gosling delivers one of the best comedic performances of all time in Shane Black’s delightful detective story “The Nice Guys.” Set in 1977 Los Angeles, Gosling plays a struggling private eye who is forced to team up with a brute enforcer (played by Russell Crowe) to investigate the disappearance of a young girl (Margaret Qualley). As these things go, they stumble upon a conspiracy far bigger than they expected. The comedic timing is impeccable and Black’s script harkens back to his “Lethal Weapon” days with razor sharp dialogue and explosive character dynamics. If you’ve never seen it, this may very well be your new favorite movie. – AC

“Parasite”

Netflix – Feb. 1

Filmmaker Bong Joon-ho’s “Parasite” dominated the Oscars in 2020, and for good reason. This shocking, funny, dramatic and deeply emotional story follows two very different families and tackles the socio-economic divide in a way rarely seen. “Parasite” is about a down-on-their-luck family who infiltrates a well-to-do family one by one – the son serves as the family’s tutor, the father is the rich dad’s driver, etc. all without the rich family knowing these people are related. But Joon-ho then twists the story on its head, chronicling the illusion of socio-economic mobility in striking, heartbreaking detail. – AC

“Miss Congeniality”

Netflix – Feb. 1

Sandra Bullock is terrific in “Miss Congeniality,” the 2000 comedy that follows an FBI agent who goes undercover in the Miss United States beauty pageant to root out a conspiracy. Bullock really leans into physical comedy here, but Michael Caine also has a scene-stealing role as her flamboyant beauty pageant coach and William Shatner is perfectly cast as a veteran MC. Endlessly quotable and full of joy, “Miss Congeniality” is the ideal feel-good watch. – AC

“Just Friends”

Prime Video – Feb. 1

If you’re looking for something to get in the Valentine’s Day mood, this underrated 2005 rom-com will do the trick. Ryan Reynolds stars in “Just Friends” as a successful record producer who, while transporting his latest pop star (Anna Faris) on a private jet, gets stranded in his hometown. To make matters more complicated, his character used to be an overweight outcast and loses all confidence once he crosses paths with the girl he was in love with in high school. There’s a lot of terrific physical comedy in this one and it’s one of Reynolds’ best performances. – AC

“The Devil Wears Prada”

Prime Video – Feb. 1

Perhaps one of the most rewatchable movies of all time, “The Devil Wears Prada” is now at your service on Prime Video. Anne Hathaway stars as an aspiring journalist who gets a job as assistant to the fearsome, intensely critical editor-in-chief of a famous fashion magazine, played by Meryl Streep in an Oscar-nominated role. As Hathaway’s character becomes further engrained in the fashion world, she starts sacrificing her personal life for the whims and whimsy of her demanding boss. – AC

“Final Destination” 1-5

Max – Feb. 1

Listen, there’s a new “Final Destination” movie – “Final Destination: Bloodlines” – in theaters on May 16. It’s time to do your homework and watch the five (!) original movies, now on Max. The original movie, ultimately directed by James Wong and written by Wong and his frequent collaborator Glen Morgan, was based on a spec script by Jeffrey Reddick. In the original version of the story, the teen that had a premonition about a plane crash and was forcibly ejected from the flight (along with some of his high school buddies), was stalked by the literal specter of death. Yes, with the robe and everything. What Morgan and Wong, who also wrote some of the very best episodes of “The X-Files” and its companion series “Millennium,” wisely did was turn death into something that would spring on its victims via a series of Rube Goldberg-style set pieces where mundane, everyday items would become instruments of ghoulish terror. This idea rippled throughout the franchise; the second film (directed by David Ellis) used a highway pileup as its inciting incident and featured a more diverse cast. The second film, which saw Morgan and Wong return and is ultimately the next most satisfying installment, went back to high school and had a fairground rollercoaster ride catastrophe.

Ellis returned for the fourth, which was filmed in 3D (stock car massacre), and fifth (bridge collapse), although by this point the formula was wearing thin and Ellis’ direction became increasingly slacker. (The fifth film does have a nifty connection to the first film.) Hopefully the new one will inject some fresh blood into the franchise. Thankfully, it does include a cameo from series mainstay Tony Todd, who passed away last year. Pretty iconic to have two horror franchises under your belt. But that’s just the kind of legend Todd was. – DT

“Speed”

Max – Feb. 1

“Speed” just celebrated its 30th anniversary last year. And the further we get away from the movie, the easier it is to appreciate it. “Speed,” written by Graham Yost (with major contributions from Joss Whedon and Paul Attanasio) and directed by Jan de Bont, is the greatest of the son-of-“Die Hard” action movies, with Keanu Reeves as a heroic cop attempting to save a bus full of people after a madman (Dennis Hopper) places a bomb that will detonate if the bus goes below 50 miles-per-hour. It is pure, high-concept heaven. And it was brilliantly brought to life by de Bont, a cinematographer on “Die Hard,” along with “The Hunt for Red October,” “Black Rain” and “Basic Instinct.” It was de Bont who understood that grounding the movie, at least partially in a realistic way, would pay off in big ways. (The chemistry between Reeves and a mostly unknown Sandra Bullock also helped tremendously.) The resulting film was a thrill-a-minute sugar rush of a movie that still holds up today. And looking back, it’s amazing just how huge the movie was. “Speed” was a cultural event. Quentin Tarantino quoted it at awards shows. A hastily produced sequel was rushed into theaters (it’s terrible). The Billy Idol song from the soundtrack is still probably stuck in your head. “Speed” forever. “Speed” for always. – DT

“Past Lives”

Prime Video – Feb. 2

Celine Song’s gentle, romantic drama, starring Greta Lee, Teo Yoo and John Magaro, was a sleeper hit last year that also got nominated for the Best Picture and Best Original Screenplay Oscars (yeah, remember that?) If you haven’t seen “Past Lives,” it is sweet and sensitive, with a young woman (Lee) visited by her former friend and potential love interest (Yoo), while her American husband (Magaro) struggles with the entire situation. Song toggles between the past and the present, looking to give dimension to their relationship and creating a kind of emotional shorthand, with the audience filling in the missing time for themselves. If you’ve ever had a lost love slip away (or come back unexpectedly), then “Past Lives” is for you. It also makes for a great double feature with Luca Guadagnino’s own love triangle drama “Challengers,” which was, coincidentally, written by Song’s husband Justin Kuritzkes. “Challengers” is also available on Prime Video. Volley! – DT

“Despicable Me 4”

Netflix – Feb. 28

In the fourth “Despicable Me,” Gru (Steve Carell) is placed into witness protection. Will Ferrell plays a villain who is also a cockroach. The screenplay was co-written by “The White Lotus” creator Mike White. There’s a honey badger named Lenny. Pharrell has a pretty catchy new song called “Double Life” that is sort of awkwardly placed in the movie. The minions get superpowers. Either you’re in or you’re out. Make your decision. “Despicable Me 4.” It made almost $1 billion at the global box office. – DT