After opening to underwhelming figures, Supergirl, the second installment of James Gunn and Peter Safran‘s DC Universe, will be looking to bounce back this weekend at the box office. However, its competition remains strong, including the two-week chart-topper Toy Story 5, Steven Spielberg‘s sci-fi gem Disclosure Day, the viral horror hit Obsession, and this weekend’s new arrival: Illumination‘s Minions & Monsters. Just when you thought things couldn’t get any harder for Milly Alcock’s Kara Zor-El, the competition on streaming is proving just as tricky. With that in mind, here’s a list of three movies you should stream this weekend on Netflix.
Disclaimer: These titles are available on US Netflix.
1
‘Enola Holmes 3’ (2026)
She’s back! Earlier this week, Netflix delivered a third installment in the popular Enola Holmes franchise, which follows Stranger Things favorite Millie Bobby Brown as the titular teen detective and sister of Sherlock. Enola Holmes 3follows the fearless crime-solver as she travels to Malta to take on an adventure more personal and more dangerous than ever before.
Adventure and excitement perfect for the whole family, the first two movies in this franchise have been huge hits, and the third is sure to prove the same. Philip Barantini, who helmed all four episodes of Netflix’s Adolescence, takes over the director’s chair from Harry Bradbeer, with the likes of Henry Cavillas Sherlock, Helena Bonham Carter as the Holmeses’ mother, Louis Partridge as Tewkesbury, and Himesh Patel as Dr. Watson all returning.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
2
‘Nomadland’ (2020)
Rotten Tomatoes: 93% | IMDb: 7.3/10
Director Chloé Zhaobrought the world to tears last year with her Academy Award-winning Hamnet. But this wasn’t the first time she was making audiences cry whilst taking home major prizes, with her 2020 gem Nomadlandnow streaming on Netflix. This meditative drama stars Frances McDormandas a woman in her sixties who becomes a van-dwelling nomad in the American West after losing everything in the Great Recession.
A tender, heartwrenching drama that marries filmmaking with visual poetry, Nomadland is a stunning, moving film that will have you fully immersed throughout. It was an enormous hit after its release, scoring a sweep of awards at the biggest festivals before taking home a trio of prizes from the Academy, including the coveted Best Picture trophy.
3
‘Talk to Me’ (2023)
Rotten Tomatoes: 94% | IMDb: 7.1/10
If big-budget streaming adventures and award-winning dramas aren’t to your taste this weekend, then why not try one of the most inventive horror movies of the past few years? Danny and Michael Philippou‘s Talk to Me, one of the best Australian films of the decade, follows Sophie Wilde‘s Mia as she becomes possessed by an evil spirit following a strange game of conjuring with her friends.
As anxiety-inducing as the best teen movies and skin-crawling as the best horrors, Talk to Me shines as an example of the horror renaissance of recent years, which has been propelled by box office hits Obsession and A24’s Backrooms. Collider’s review from the time read, “Talk To Me has plenty that promises to capture the souls of horror sickos looking for a sinister spectacle.”
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