Fall is here! It’s not too early to break out the sweaters, jackets and pumpkin spice (and everything nice), and what better way to settle in than with a great movie? September brings with it a bounty of noteworthy new movies streaming on Netflix, Prime Video, Max, Hulu, Peacock, Paramount+ and more, and we’ve put together a curated list of the films you should earmark this month. From new releases that hit theaters just a couple months ago to streaming originals to classics, there’s something for everyone.
Check out our list of the best new movies streaming in September 2024 below.
“A Quiet Place: Day One”
Paramount+ – Aug. 27
Ready to go back to the beginning? “A Quiet Place: Day One” rewinds to the day that the sound-sensitive aliens arrived on earth. But instead of a sleepy farm town, the movie takes place in New York City. Lupita Nyong’o plays Sam, a terminally ill cancer patient who, along with her pet cat, go into the city for the day … that just so happens to be the fateful day that the aliens land. Of course, this turns the central conceit of “A Quiet Place” on its head, with the creatures, triggered by sound, invading the loudest city on earth. (Incredibly, they don’t kill a guy trying to cross the street who yells “I’m walkin’ here!”) Nyong’o must fight for survival in the increasingly nightmarish cityscape, eventually teaming with a young man (Joseph Quinn from “Stranger Things”) in a bid to escape. Djimon Hounsou plays a fellow survivor, returning to the character he originated in “A Quiet Place: Part II,” which adds some nice continuity and deepens the mythology. The movie, which was written and directed by “Pig” filmmaker Michael Sarnoski, also proves that the “Quiet Place” framework is fairly malleable and can be twisted into new and exciting forms. Can’t wait to see what comes next. – Drew Taylor
“Kinds of Kindness”
Hulu – Aug. 30
Yorgos Lanthimos has returned, months after his Oscar-winning, $100 million-grossing feminist fairy tale “Poor Things.” And as Bilge Ebiri, film critic for New York Magazine, succinctly put it, “Sicko Yorgos is back.” “Kinds of Kindness” takes the form of a triptych of unrelated by thematically consistent stories, each starring Lanthimos’ Emma Stone, Jesse Plemons, Hunter Schafer, Willem Dafoe and Margaret Qualley (or some combination therein). Themes of distrust, jealousy, control and obsession surge through each story, each bleaker and more darkly humorous than the last. If you are more in tune with the audience-friendly Lanthimos, of “The Favourite” or “Poor Things,” then “Kinds of Kindness” will probably be a huge turn-off. But if his wilder side appeals to you, you’ll probably have a blast. Sit back, turn your sound system all the way up (the credits are set to Eurythmics’ “Sweet Dreams (Are Made of This)” so definitely blast that). Even if you hate it, “Kinds of Kindness” will provide fodder for endless conversation. How many movies can you say that about? – Drew Taylor
“Apollo 13: Survival”
Netflix – Sept. 13
Houston, we have a documentary. Nine months after Neil Armstrong landed on the moon, NASA would face its biggest challenge yet, when three astronauts found themselves stranded in outer space after a mid-flight explosion. (This was all dramatized, thrillingly, in Ron Howard’s Oscar-nominated 1995 film “Apollo 13.”) “Apollo 13: Survival” was brought to life “with rare access to the complete audio recordings of the mission, never-before-seen film materials, and archival interviews with the crew, their families, and the team at Ground Control,” according to the official synopsis. If you’ve seen the Tom Hanks movie or read anything about the actual crisis, you know just how harrowing the situation was. “Apollo 13: Survival” promises to be a “uniquely cinematic retelling of one of the great survival stories in human history.” Cannot wait. – Drew Taylor
“The Boy and the Heron”
Max – Sept. 6
Hayao Miyazaki’s Oscar-winning masterpiece finally comes to streaming. “The Boy and the Heron,” likely Miyazaki’s final film, is autobiographical and strange. Even among his considerable filmography, it’s a towering achievement. During World War II a young boy loses his mother in a fire; he then moves with his father, who is marrying his mother’s sister, to the countryside. (His father runs a munitions plant for the war, one of the many tactile details that add so much to the narrative.) While at his new home he encounters a magical talking heron who invites him into a strange fantasy world where time and space are topsy-turvy and he is able to encounter figures from his family in different guises. It’s also where the boy meets a wizard who is unable to cede control of his universe to his son (this echoes Miyazaki’s difficult to hand control of Studio Ghibli to his son Goro). Also there are parakeet soldiers and spirits who look like the characters from Pixar’s “Soul” and much, much more. “The Boy and the Heron” gamely veers from the silly to the profound (and back again), a whirling fantasy that is as deeply personal as it is expansively universal. – Drew Taylor
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“Rebel Ridge”
Netflix – Sept. 6
“Rebel Ridge” is finally here. The movie, written and directed by the incomparable Jeremy Saulnier, was first announced in 2019. Since then the movie was delayed by COVID-19 and suffered a bigger setback when the movie was shut down when John Boyega had to leave due to family reasons. The movie was ultimately shot in 2022 and is only now premiering on Netflix. But it was worth the wait. The movie stars Aaron Pierre (in the role originally played by Boyega), who attempts to bail his cousin out of jail but runs afoul of a corrupt sheriff (Don Johnson) and finds himself not just fighting for his relative but his life, as he uncovers the dark secrets behind the small town. While the movie has a vaguely “First Blood”-ish set-up, it’s really a much more complicated, more socially conscious movie, about how race, power and corruption intersect on both a personal and systemic level. And it’s full of hard-charging, stylish direction, wonderful performances (including a star-making turn by Pierre) and muscular action. What more could you want? – Drew Taylor
“Wise Guy: David Chase and The Sopranos”
Max – Sept. 7
“The Sopranos” remains one of the best television series ever made, and now there’s a new documentary delving deep into the life and mind of the guy who created it, David Chase. In a recreation of the therapist office set from the show, Chase sits down to answer questions about the deeply personal nature of the show (it was based on his relationship with his mother) and his life. He’ll most certainly be talking about that finale, but will he offer any additional insight? – Adam Chitwood
“Civil War”
Max – Sept. 13
Now is your chance to weigh in on one of the most controversial films of the year. In “Civil War,” Alex Garland, the sci-fi provocateur behind “Ex Machina,” “Annihilation” and the screenplay for “28 Days Later,” imagines a United States in the midst of a contentious civil war. States have banded together to form tenuous alliances and the President of the United States (Nick Offerman) is hiding in Washington, D.C. while making blustery public proclamations. A small group of press members – a pair of photo journalists (Kirsten Dunst and Wagner Moura), a print journalist (Stephen McKinley Henderson) and a young protégé (Cailee Spaeny) make a treacherous journey from New York City to Washington. Their goal? To get to the president before the opposing factions do. Garland purposely leaves the politics fuzzy, instead focusing on those hell-bent on documenting the carnage. (It also helps that all the performances are so good.) Boasting one of the biggest budgets in the history of indie studio A24, “Civil War” eventually explodes into a truly terrifying battle, with our protagonists right in the middle. With shades of John Carpenter, “Civil War” feels like a movie that shouldn’t have taken the heat that it did. This one is the real deal. Watch at home and grip the armrest of your sofa until your knuckles turn white. – Drew Taylor
“Uglies”
Netflix – Sept. 13
Are we ready to revisit the YA post-apocalypse trend? “Uglies,” a new Netflix film based on the book of the same name, takes place in a dystopian future in which everyone is considered an “ugly” until they’re turned into a “pretty” by cosmetic surgery at the age of 16. Joey King, Chase Stokes, Laverne Cox and Keith David star in this film that looks like it’s straight out of 2011. – Adam Chitwood
“Grave of the Fireflies”
Max – Sept. 16
If you thought “The Boy and the Heron” was the only Studio Ghibli masterpiece coming to streaming this month, well, think again. Based on the autobiographical short story of the same name by Akiyuki Nosaka and adapted and directed by dearly departed Ghibli co-founder Isao Takahata, 1988’s “Grave of the Fireflies” is one of the studio’s very best movies. The story of the movie centers around Seita and Setsuko, who are orphaned in Japan towards the end of World War II. This doesn’t necessarily sound like the kind of movie that demands to be animated, but Takahata understands how the medium can emphasize the loneliness and horror of the war, with the film’s painterly art style adding depth and nuance. (It’s also a perfect medium for a film that is about a profound loss of innocence.) Largely considered one of the greatest Japanese animated films (and one of the saddest films ever), “Grave of the Fireflies” is a towering achievement. And it’s so exciting that it is finally streaming. – Drew Taylor
“Handling the Undead”
Hulu – Sept. 17
A thoughtful, spooky horror story based on a novel by John Ajvide Lindqvist (“Let the Right One In,” “Border”) and starring “Worst Person in the World” (and “Presumed Innocent”) breakout Renate Reinsve? Say less! Okay, we’ll give you a little bit more – the movie follows three families whose lives are thrown into disarray by the return of deceased loved ones. We call this a reverse “The Leftovers.” The film premiered at Sundance earlier this year and was warmly reviewed, mostly due to its thoughtful take on the material and for the performances from Reinsve and others. A chilly Norwegian horror movie might be just what the doctor ordered! – Drew Taylor
“I Saw the TV Glow”
Max – Sept. 20
Jane Schoenbrun’s A24 film “I Saw the TV Glow” is a singular work of art. You ain’t seen nothin’ like this before. The story is partially inspired by Schoenbrun’s love of “Buffy the Vampire Slayer” as it follows two young outcasts in 1996: Owen (Justice Smith) is uncomfortable in his own skin and Maddy (Brigette Lundy-Paine) dreams of escaping home. The two bond over Maddy’s obsession with a TV series called “The Pink Opaque,” and come to love the show so wholly that they wish they could live inside the show instead of in their actual lives. From there things get incredibly trippy, and much is left open to interpretation but at its core, “I Saw the TV Glow” is one of the most fully realized stories about the trans experience put to screen so far. – Adam Chitwood
“His Three Daughters”
Netflix – Sept. 20
Elizabeth Olsen, Natasha Lyonne and Carrie Coon play estranged sisters caring for their ailing father in this Netflix drama from writer-director Azazel Jacobs, who previously directed the film “French Exit.” Tender and heartwrenching, this looks like a full-on weepy but that trio of actresses are a force to be reckoned with. Tissues recommended. – Adam Chitwood
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“Rez Ball”
Netflix – Sept. 27
This Netflix original co-written by “Reservation Dogs” creator Sterlin Harjo is a true underdog story. It follows a high school basketball team in Chuska, New Mexico rich in Native American heritage that loses its star player. Those left must step up in order to achieve their dream of winning the state championship. LeBron James serves as a producer on the feature, which was directed by Sydney Freeland. – Adam Chitwood
“Will & Harper”
Netflix – Sept. 27
Josh Greenbaum, who last directed very funny studio comedies “Strays” and “Star and Barb Go to Vista Del Mar,” returns to his documentary roots (he also made the genuinely hilarious “Too Funny to Fail: The Life & Death of The Dana Carvey Show”) with “Will & Harper.” The doc covers the real-life road trip that Will Ferrell and Harper Steele, a frequent collaborator, took during the pandemic shortly after Harper told Ferrell her intention to go through gender transition. The movie premiered at Sundance to rapturous reviews (New York Times critic Manohla Dargis called it “a momentous cross-country journey of discovery”) and Netflix quickly picked it up for distribution. It’s one of our most anticipated movies of the year – with good reason. Who doesn’t love a doc that makes you laugh and makes you cry? – Drew Taylor
“Wolfs”
Apple TV+ – Sept. 27
Jon Watts’ first non-“Spider-Man” film in almost a decade is “Wolfs,” a dark comedy about a pair of fixers (played by George Clooney and Brad Pitt) who are called in to do the same job – dispose of a body for a troubled woman (Amy Ryan). Of course, things take a turn when the previously thought dead guy is very much alive, setting the two on a nocturnal odyssey full of comedic misadventures and high stakes action. While a proposed theatrical launch for “Wolfs” was truncated, Apple seems very high on the property, already ordering a sequel from Watts that would reunite him with Clooney and Pitt. Just another job for the “Wolfs.” – Drew Taylor
“Apartment 7A”
Paramount+ – Sept. 27
“Rosemary’s Baby” returns. Sort of. “Apartment 7A” traces the final months of Terry Gionoffrio (now played by the great Julia Garner), the woman who falls to her death in front of Guy and Rosemary Woodhouse in Roman Polanski’s 1968 original. As portrayed by Garner, she’s an ambitious dancer who injures her leg and is taken in by the kindly Minnie and Roman Castavet (Dianne Wiest and Kevin McNally taking over for Ruth Gordon and Sidney Blackmer). But, as we know, there’s more to the Bramford building than spacious New York apartments, and Terry starts to get the devilish vibe too. (Jim Sturgess inverts his natural charm as a menacing theater director and Bramford neighbor.) Garner is, as always, a powerhouse, and co-writer/director Natalie Erika James offers up classic thrills with more contemporary sensibilities, never indulging in unnecessary fan service or easy-to-spot Easter eggs. This would make a great double feature with “The First Omen” from earlier this year (that one is on Hulu). Be sure to check in to “Apartment 7A,” especially if you want some fresh spooky fun this Halloween. – Drew Taylor
“Babes”
Hulu – Sept. 30
If it’s a laugh-out-loud comedy you want, check out “Babes.” Written by Ilana Glazer and Josh Rabinowiz and directed by “Better Things” mastermind Pamela Adlon, the film is a story of female friendship as Glazer and Michelle Buteau play BFFs who face a challenge when Glazer’s character decides to have a baby alone after a one-night stand. The film offers a mix of raunch and heart that’ll charm your pants off, and the ensemble cast (John Carroll Lynch, Oliver Platt, Stephan James) is terrific. – Adam Chitwood
“The Frighteners”
Peacock – Sept. 1
One of Peter Jackson’s best – and most underrated – movies arrives on Peacock, just in time for Halloween. “The Frighteners,” which was produced by Robert Zemeckis and nearly a “Tales from the Crypt” movie, stars Michael J. Fox as Frank Bannister, a low-rent ghostbuster who is actually in cahoots with the ghosts (played by Jim Fyfe, Chi McBride and John Astin). But his light scamming takes on more sinister overtones when a ghostly serial killer starts to claim victims associated with Frank. Featuring jaw-dropping, cutting-edge visual effects by a then-nascent Weta, oversized (but still pitch-perfect) performances from the entire cast (which also includes Dee Wallace Stone, Jake Busey, Jeffrey Combs and R. Lee Ermey) and a storyline that expertly oscillates between horror and comedy, “The Frighteners” was one of the best movies of the decade – but hardly anybody saw it. (Universal had originally earmarked the movie for a Halloween release but loved it so much they bumped it up to a prime summer slot where it got hammered.) Time to discover the movie that showcased just what Peter Jackson was capable – and got him the job for “Lord of the Rings.” It’s a hoot. – Drew Taylor
“The Funhouse”
Peacock – Sept. 1
One of the 1980’s most visually stunning horror movies, “The Funhouse” was directed by “The Texas Chainsaw Massacre” auteur Tobe Hooper the year before “Poltergeist” came out. (Its production was partially inspired by the success of “Friday the 13th.”) Hooper’s first studio project takes full advantage of the increased budget and the legacy of Universal’s horror offerings (a Frankenstein’s monster mask features prominently). The story of a bunch of kids who sneak away to check out a seedy carnival funhouse, only to fall victim to a fearsome creature, designed by make-up effects legend Rick Baker. Once again Hooper seems to be commenting on America society – its innate repressiveness, the destructive “othering” of someone even a little bit different, the intersection of sex and death and the thin line between entertainment and exploitation. And the movie is funny and scary and weird. But the star of the show is Hungarian-American director of photography Andrew Laszlo’s stunning cinematography. This is the man who shot some of Walter Hill’s most iconic films. And the luridness of the neon, the smears of color, the expressive widescreen framing, add so much to what is admittedly a scare-the-teenager midnight movie best enjoyed in your nearest mall. If you’ve never seen it, time to buy a ticket and check in to “The Funhouse.” – Drew Taylor
“They Live”
Peacock – Sept. 1
There are a few John Carpenter classics making their way to Peacock today, including “The Thing,” “Prince of Darkness” and “Village of the Damned.” These are all very worthy, particularly if you want to jump-start your spooky season programming. But we decided to give a specific shout-out to “They Live,” Carpenter’s sly, sardonic chiller about an anonymous drifter (played by former wrestler “Rowdy” Roddy Piper) who uncovers a vast alien conspiracy designed to codify the masses. For its nimble tonal tightrope walk; the easygoing, naturalistic performances from Piper, Keith David, Meg Foster and George Buck Flower; and its aggressive, antiauthoritarian subtext that has only become more powerful and identifiable with age (he addresses not just rampant consumerism but classism, global warming and the unhoused epidemic – and this was in 1988!), “They Live” remains one of Carpenter’s best and most satisfyingly complex movies. Also, Carpenter’s score, composed with Alan Howarth, is one of his best too – a jangly, pseudo-western ode to a lone gunslinger who comes to town and takes down a corrupt system. What a movie. – Drew Taylor
“Tremors”
Peacock – Sept. 1
When we talked to Kevin Bacon earlier this year for “MaXXXine,” he said the only role of his that he’d like to return to is “Tremors.” And it’s easy to see why – the character of Val McKee, a redneck shit-kicker who comes up against a race of giant underground carnivorous worms (that are halfheartedly dubbed “graboids”), is one of his most engaging roles and one that he inhabits, effortlessly. It’s a shame that Fred Ward, who played Val’s partner in crime Earl Bassett, passed away a couple of years ago. Getting these two together would have been a hoot. And it’s a testament to Ron Underwood’s expertly calibrated film (and S. S. Wilson and Brent Maddock’s note-perfect script) that Bacon would want to return at all. If you’ve never seen “Tremors,” it’s an absolute blast – a delirious horror comedy that has the scares and the laughs in all the right places. It’s also, in its latter half, a rollicking adventure, with the small town of Perfection, Nevada, teaming up to stop the subterranean threat. Back when cable was a thing, “Tremors” was the type of movie that would play on some basic cable channel and you would come across it while flipping channel and watch until the very end. And if “Tremors” gets you quaking for more, there are several direct-to-video sequels (most starring Michael Gross) and a short-lived television series (also starring Gross) to keep that Richter scale jumping. – Drew Taylor
“Us”
Peacock – Sept. 1
Writer/director Jordan Peele’s debut feature “Get Out” was a cultural phenomenon that also earned Peele a best original screenplay Oscar. That puts a lot of pressure on the follow-up. Luckily Peele exceeded expectations with “Us,” still arguably the best film out of the three he directed. Lupita Nyong’o stars as Adelaide Wilson, who travels with her family to the small beach town where she grew up. While there, she and her family suffer a home invasion; only the invaders look exactly like her family. Where these doppelgängers, known as the Tethered, come from and what they want, is even more mysterious. (It turns out, we’ve all got a Tethered.) Peele expands his scope considerably, while anchoring things emotionally with Nyong’o’s performance, a career-best that was not even nominated for the best actress Oscar. What’s really exceptional is that Peele is able to synthesize a laundry list of influences and shout-outs – everything from the Hands Across America charity stunt to 1980’s horror classics like “C.H.U.D.” and “The Lost Boys” – into a deliriously enjoyable stew. If you only saw “Us” once, it’s the kind of movie that reveals new pleasures and small details each time you watch it. And if you’ve never seen it, well, no time like the present. Watch with your Tethered. – Drew Taylor
“Midnight Run”
Netflix – Sept. 1
If you like buddy comedies, you owe it to yourself to see “Midnight Run.” This is not just the film that set the formula for so many beloved comedies to come, but it’s also one of the best and most enjoyable movies ever made. Robert De Niro plays a bounty hunter who is tasked with finding an accountant (Charles Grodin) and bringing him back to Los Angeles. But once he finds him, getting him to California is easier said than done – especially as the accountant keeps getting on his nerves. Directed by Martin Brest, the film hit theaters in 1988 and has been cited as an influence on everything from “Rush Hour” to “Toy Story” to “Deadpool & Wolverine.” – Adam Chitwood
“Along Came Polly”
Netflix – Sept. 1
There is one very specific reason to watch “Along Came Polly”: Philip Seymour Hoffman. While the late actor is best known for his dramatic work, his turn in this 2004 romantic comedy is a work of comedic art. The story follows a a risk-averse actuary (Ben Stiller) who strikes up a relationship with a free-wheeling woman he used to go to school with (Jennifer Aniston). It’s a classic opposites attract story and while the rom-com stuff is fine (there are some pretty great comedy set pieces), it’s Hoffman who makes this worthwhile. – Adam Chitwood
“Bram Stoker’s Dracula”
Prime Video – Sept. 1
As Francis Ford Coppola prepares to unveil his epic “Megalopolis,” why not revisit one of his best and somewhat underrated films? “Bram Stoker’s Dracula” is a lush, loving and horrific adaptation of its namesake with Gary Oldman playing the vampire, Winona Ryder as Mina Harker and Anthony Hopkins as Van Helsing. What sets “Dracula” apart is Coppola revived filmmaking techniques from the silent era, resulting in a movie that looks like nothing else that was being made at the time. The effects and production design are jaw-dropping. – Adam Chitwood
“Planes, Trains and Automobiles”
Prime Video – Sept. 1
If you’re more inclined to skip Halloween and go straight to Thanksgiving, “Planes, Trains and Automobiles” will get you in the mood. This John Hughs classic stars Steve Martin and John Candy as two strangers who team up to try and get home in time for the holiday, traversing various modes of transportation all while Martin absolutely cannot stand Candy. It’s hilarious and heartbreaking and might just be Hughes’ best movie. – Adam Chitwood
“Edge of Tomorrow”
Netflix – Sept. 7
“Edge of Tomorrow” rules. This sci-fi time loop story stars Tom Cruise as a cowardly military official who is sent to the frontlines of an alien invasion in London, only to die. But after he dies, he wakes up and it’s the previous day all over again. In this “Groundhog Day” scenario, he must find out how to survive long enough to defeat the alien combatants, all with help from another soldier who previously went through her own time loop, played by Emily Blunt. Doug Liman directs from a screenplay by Christopher McQuarrie, and this remains one of the best films from everyone involved. – Adam Chitwood
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