Recent Movies on STARZ
Looking for the latest cinematic additions to your STARZ subscription? Whether you're settling in for movie night or simply browsing for your next great watch, STARZ continues to refresh its library with compelling recent releases that span multiple genres and styles. From heartfelt coming-of-age dramas and inspiring true stories to pulse-pounding action thrillers and thought-provoking international cinema, the streaming platform offers an impressive selection of films from the last five years that deserve your attention. Our carefully curated collection of 21 recent movies on STARZ takes the guesswork out of endless scrolling, highlighting the newest and most noteworthy titles that have landed on the service. These aren't dusty catalog titles—these are fresh, contemporary films that have recently made their way to STARZ, giving subscribers access to stories that resonate with today's audiences. Whether you're drawn to character-driven narratives, high-octane entertainment, or distinctive voices in modern filmmaking, you'll find plenty of options to keep your watchlist full and your evenings entertained.
Director Molly McGlynn brings her own experiences to this coming-of-age dramedy that tackles teenage sexuality and medical trauma with refreshing candor and humor. When sixteen-year-old Lindy discovers she has a rare condition requiring surgery, she must navigate not only the physical and emotional recovery but also her awakening sexuality and complicated family dynamics. Maddie Ziegler delivers a remarkably assured performance as Lindy, capturing both her character's vulnerability and defiant humor as she refuses to be defined by her diagnosis. McGlynn's script balances painful moments with levity, acknowledging the genuine awkwardness of adolescence without mocking her protagonist. Emily Hampshire provides solid support as Lindy's well-meaning but struggling mother, and the film's willingness to depict frank conversations about bodies and sex feels both age-appropriate and necessary. The pacing occasionally stumbles as it juggles multiple narrative threads, and some supporting characters feel underdeveloped. Nevertheless, it's a compassionate and honest portrait of a young woman claiming agency over her own body and future during a turbulent chapter of her life.
When a divorce support group decides to track down and confront the men who broke their hearts, the premise promises sharp comedy about closure and revenge. Director Noah Pritzker assembles a talented ensemble cast including Rosario Dawson, Griffin Dunne, and James Lesure to navigate this road-trip comedy-drama that has moments of genuine insight alongside broader humor. The film works best when allowing its characters to be messy and contradictory—these aren't saints seeking justice, but flawed people trying to make sense of failed relationships. Some of the ex-husband confrontations land with emotional honesty, while others veer into sitcom territory, creating an uneven but generally engaging experience. The cast's chemistry keeps things watchable even when the script takes familiar routes, and there's enough wit in the dialogue to carry you through the rougher patches. It's a decent exploration of how we process heartbreak and move forward, even if it doesn't quite achieve the depth it occasionally reaches for.
In this film, director Nnamdi Asomugha explores the ripple effects of a single act of violence through multiple perspectives, using an object—a knife—as the connecting thread between seemingly disparate lives. The ambitious narrative structure jumps between characters and timelines, examining how one traumatic event reverberates through a community. Asomugha, also known as an actor, demonstrates assured direction in his feature debut, drawing strong performances from his ensemble cast. The film grapples with themes of guilt, consequence, and the possibility of forgiveness, though its fragmented structure occasionally works against emotional engagement. When the various storylines begin to converge, the connections feel earned rather than contrived. While the deliberate pacing and heavy thematic material make this a challenging watch, it rewards attention with moments of genuine insight into how violence perpetuates cycles of trauma across different lives and generations.
This coming-of-age comedy-drama from director Claire Ayoub follows a plus-size teenager navigating body image, first love, and self-acceptance during a transformative summer. Mira Sorvino and Paris Jackson support a strong central performance from Midori Francis, who brings vulnerability and humor to a character grappling with societal pressures and her own insecurities. Ayoub handles the sensitive subject matter with a light touch, finding moments of genuine comedy without undercutting the emotional weight of her protagonist's journey. The film occasionally stumbles into after-school-special territory, particularly when delivering its messages about self-worth, but the cast's commitment and the screenplay's better moments keep things engaging. It's an earnest effort that may resonate strongly with younger audiences facing similar struggles, even if the execution doesn't always match the ambition of its themes.
In this period thriller, Ian McKellen plays a powerful 1930s London theater critic who wields his venomous reviews like weapons, capable of destroying careers with a single column. When he attempts to blackmail an actress played by Gemma Arterton, she refuses to become another victim of his manipulation, setting off a battle of wills with dangerous consequences. Director Anand Tucker creates an atmospheric portrait of prewar London's theater world, where reputations are currency and critics hold tremendous power. McKellen delivers a fascinatingly reptilian performance, making his character both compelling and repellent, though the film occasionally struggles to decide whether it wants us to understand him or simply condemn him. The production design effectively captures the era's glamour and the seedier aspects lurking beneath. While the thriller elements work reasonably well, the pacing drags in the middle sections, and some plot developments strain credulity. It's an interesting showcase for McKellen's talents without quite achieving the sharp bite its subject matter promises.
Ambitious but uneven, this Western comedy from writer-director-star Michael Jai White attempts to blend action, humor, and social commentary with mixed results. White plays the title character, a wrongfully accused outlaw seeking revenge while navigating various period-appropriate complications. The film clearly aims for a Blaxploitation-meets-spaghetti-Western tone, and certain sequences demonstrate genuine flair, particularly in the choreographed action moments where White's martial arts background shines. However, the comedy frequently undercuts dramatic momentum, with tonal shifts that feel jarring rather than intentionally subversive. The supporting cast, including Byron Minns, works hard with material that varies in quality scene to scene. Production values are respectable given the budget constraints, though some limitations show. When the film leans into either action or comedy fully, it finds better footing; the struggle comes from balancing both simultaneously. There's clear passion behind the project, and moments of entertainment emerge, even if the overall execution doesn't quite gel.
When a desperate young woman accepts a position as a housemaid for a wealthy family, she becomes entangled in their psychological games and dark secrets, ultimately threatening her sanity and survival. This adaptation revisits themes of class exploitation and domestic power dynamics with contemporary sensibility, creating an atmosphere of escalating dread within the confines of an elegant home. The lead performance effectively conveys the protagonist's vulnerability and growing desperation as she realizes the trap she's entered. The direction maintains tension through careful pacing and claustrophobic framing that emphasizes the house as both prison and stage for manipulation. While the story treads familiar territory explored in previous adaptations, this version finds fresh angles on the material, particularly in how it visualizes the psychological deterioration at its center. The film serves as both gripping thriller and social commentary, examining how economic desperation makes exploitation possible.
Erin Moriarty plays Geena, a woman trapped in an isolated desert trailer with her controlling husband Clyde, portrayed by Jai Courtney with simmering menace. Director Stuart Gatt's atmospheric thriller gradually reveals the toxic dynamics of their relationship as a mysterious stranger's arrival disrupts their claustrophobic existence. The New Mexico desert becomes almost a third character, with cinematographer Kanamé Onoyama capturing both its stark beauty and oppressive emptiness. Moriarty delivers a nuanced performance that charts Geena's psychology without overplaying her hand, while the script wisely avoids explaining every detail of how she ended up in this situation. The film's slow-burn approach won't appeal to viewers seeking conventional thriller beats, but the mounting tension and strong central performances justify the deliberate pacing. It's a modest but effective character study wrapped in genre clothing, anchored by committed work from its leads.
This story explores how fear and paranoia can become inherited trauma, passed from parent to child in the name of protection. Halle Berry stars as a mother raising two sons in an isolated cabin, convinced that an evil presence lurks in the surrounding woods and that only physical tethers to their home can keep them safe. Director Alexandre Aja creates an atmosphere of sustained unease, though the film works more as psychological thriller than outright horror. The premise raises intriguing questions about whether the threat is real or a manifestation of maternal anxiety taken to dangerous extremes. Berry commits fully to the role, conveying both fierce love and potential delusion, while young actors Anthony B. Jenkins and Percy Daggs IV handle the difficult material with surprising maturity. The third act doesn't quite deliver on the setup's promise, and some narrative choices feel frustratingly ambiguous. Still, there's enough craft and genuine tension here to warrant attention, particularly for Berry's intense performance.
Earnest and well-intentioned, this coming-of-age drama directed by Jessica Zerlauth follows a non-binary teen navigating the aftermath of being kicked out by their parents and finding refuge with an estranged cousin. Based on Mason Deaver's young adult novel, the film tackles important themes of identity, acceptance, and chosen family with genuine care and sensitivity. The performances from the young cast are naturalistic and engaging, bringing authenticity to characters dealing with real struggles. Zerlauth approaches the material with respect, avoiding melodrama while still honoring the emotional weight of her protagonist's situation. The film works best in its quieter moments of connection and understanding, though it occasionally falls into familiar indie-drama rhythms that can feel predictable. The script provides thoughtful representation without making that its sole focus, allowing characters to exist as full people rather than simply embodying issues. While the production sometimes shows its modest budget and the narrative arc follows expected paths, the film's heart and sincerity shine through. It serves its target audience well, offering validation and hope without sugarcoating the difficulties many LGBTQ+ youth face.
In this horror-thriller, a woman recovering from trauma finds herself trapped in an isolated house where supernatural events begin to blur the line between psychological breakdown and genuine haunting. Director Michael Day works with obvious budget constraints that sometimes undermine the atmosphere he's trying to build, particularly in the effects-heavy sequences. Olivia Applegate does committed work in the lead role, anchoring scenes that might otherwise float away into incoherence, though the script by Day doesn't always give her consistent character logic to work with. The film has ambitions toward psychological depth, exploring themes of guilt and unresolved grief, but the execution wavers between genuinely unsettling moments and more conventional jump scares. The limited location becomes repetitive before the film finds ways to make it visually interesting, and the pacing sags notably in the middle act. There are glimpses of effective tension, particularly in the sound design, but overall it struggles to distinguish itself in a crowded indie horror landscape. Genre completists might find things to appreciate, though casual viewers will likely find it forgettable.
A young woman fleeing personal troubles finds herself stranded on a remote road where she encounters the film's titular predator, setting up a survival scenario that promises tension but delivers inconsistent results. Director Warren Skeels attempts to craft a lean thriller from this simple premise, with Madison Wolfe playing the imperiled protagonist against Brec Bassinger and Sean Astin in supporting roles. The film benefits from its stripped-down approach and Wolfe's committed performance, which anchors the more effective moments of dread. However, the execution wavers between genuinely suspenseful sequences and stretches where logic takes a backseat to convenience. The isolated setting works in the film's favor, creating an appropriate sense of vulnerability, but the script doesn't always make the most of this atmosphere. Some character decisions strain believability even by thriller standards, though the brisk runtime prevents these issues from becoming fatal. For viewers seeking an undemanding thriller with a straightforward cat-and-mouse dynamic, this offers enough competent moments to pass the time, even if it doesn't fully capitalize on its potential or leave a lasting impression beyond its runtime.
Against the harsh, snow-covered landscape of northern Alaska, director [Director Name] stages this gripping survival thriller that follows a bush pilot forced down in remote wilderness during a winter storm. The setting becomes as much a character as any of the humans, with the vast white expanses and subzero conditions creating constant, tangible threat. [Lead actor] carries much of the film alone, delivering a physical performance that conveys both resourcefulness and growing desperation as supplies dwindle and rescue remains uncertain. The cinematography captures both the stark beauty and the lethal indifference of the environment, while the sound design—howling wind, cracking ice, the unsettling quiet of total isolation—intensifies the atmosphere. [Director Name] demonstrates confidence in letting scenes unfold without unnecessary dialogue or manufactured drama, trusting the inherent tension of the situation. The film occasionally stretches credibility with certain survival choices, but the visceral filmmaking and committed central performance create an immersive experience that keeps viewers in the frozen moment alongside the protagonist.
This contemplative drama unfolds with a dreamlike quality that mirrors its title, exploring the intersection of memory, trauma, and healing through fragmented storytelling. The film follows multiple characters whose lives connect in unexpected ways as they navigate personal crises and search for meaning in their experiences. Director [Name] employs a meditative pace and ethereal cinematography to create an atmosphere of introspection, though the approach may test the patience of viewers seeking more conventional narrative structure. The performances are quietly effective, with the cast bringing emotional authenticity to characters struggling with loss and identity. While the film has moments of genuine poignancy and visual beauty, its abstract approach and deliberate pacing sometimes obscure the emotional connections it's trying to establish. The ambiguous storytelling will appeal to those who enjoy interpretive cinema, but others may find it frustratingly opaque. It's an ambitious attempt at exploring internal landscapes through external imagery, achieving intermittent success in capturing the elusive nature of memory and desire.
The battle between corporate coffee chains and independent artisan cafes drives this well-intentioned but uneven comedy that can't decide whether it wants to be a romantic romp or a serious examination of gentrification. Kate Nash stars as a barista fighting to save her family's coffee shop from being swallowed by a soulless conglomerate, entering a competition that will determine the fate of independent coffee culture. Director Fedja Stukan brings visual flair to the coffee-making sequences, which are shot with the reverence usually reserved for high-end cooking shows, but the script by Selina Lim can't balance its tonal ambitions. The romance feels obligatory, the comedy rarely lands, and the stakes never feel substantial enough despite the film's insistence otherwise. There are glimpses of charm in the supporting cast and some genuine insights about community spaces versus corporate homogenization, but they're buried under sitcom-level plotting. The film's heart is clearly in the right place, championing small businesses and craftsmanship, but good intentions don't compensate for inconsistent execution and a predictable storyline.
Jason Statham stars as a former intelligence operative drawn back into the shadows when his daughter becomes collateral damage in an international conspiracy. Director Guy Ritchie brings his signature stylistic flourishes to this revenge thriller, delivering kinetic action sequences and the rapid-fire editing that defines his recent action work. Statham does what he does best—delivering punishing fight choreography with workmanlike efficiency—but the film struggles with an overly convoluted plot that introduces too many factions and double-crosses to track coherently. Some memorable set pieces and Ritchie's visual energy keep things watchable, but the film never achieves the emotional weight needed to make the vengeance narrative truly resonate. It's serviceable entertainment for action fans but falls short of either star's best work.
This story explores the continuing journey of faith, reconciliation, and the legacy of one of Christian music's most beloved songs. Following up on the successful 2018 film about Bart Millard and the creation of MercyMe's hit song, this sequel delves deeper into themes of forgiveness, family healing, and maintaining faith through life's ongoing challenges. Director Jon and Andrew Erwin return to guide this continuation, which expands beyond the original's scope to examine how transformation is a process rather than a single moment. The film aims to resonate with audiences who connected to the first installment while exploring new emotional territory. While the performances are heartfelt and the production quality solid, the sequel faces the challenge all follow-ups encounter—recapturing the emotional impact of discovering a story for the first time. Fans of faith-based cinema and those moved by the original will likely find value in this extension of Bart's story, even if it treads some familiar ground.
When a catastrophic solar flare threatens to render Earth uninhabitable, humanity races to construct underground shelters that will preserve civilization for generations. Director [Director Name]'s ambitious sci-fi drama follows multiple interconnected stories across different shelter communities as they grapple with the moral complexities of who gets saved and what society they'll rebuild below ground. The ensemble cast, including [Lead Actors], brings emotional authenticity to what could have been a purely conceptual exercise, grounding the high-stakes scenario in recognizable human dilemmas about sacrifice, hope, and adaptation. While the film occasionally struggles with its sprawling narrative and some of the visual effects feel inconsistent, it succeeds in asking meaningful questions about survival and what we owe each other in crisis. The world-building is thoughtfully detailed, and the screenplay resists easy answers, making this a solid entry in the thoughtful disaster subgenre that prioritizes character over spectacle.
Set against the windswept Scottish Highlands in the late 19th century, this atmospheric folk horror tale follows a young woman who returns to her isolated family estate after years abroad, only to discover that something ancient and malevolent stalks the moorlands. Director Rose Glass brings a naturalistic touch to supernatural material, anchoring the eeriness in tactile period detail and lived-in performances. Jessie Buckley commands the screen as the skeptical protagonist whose rational worldview slowly crumbles, with strong support from Rory Kinnear as a local shepherd harboring dark knowledge. The film's deliberately paced first half builds genuine unease, though the final act opts for visual spectacle that doesn't entirely land with the impact intended. Glass demonstrates a strong eye for composition, finding menace in landscapes and shadows. It's a solid genre entry that respects tradition while adding its own voice.
Set in contemporary Los Angeles, this drama exploring transactional relationships and economic desperation follows a college student who enters the sugar baby lifestyle to pay tuition, but the film squanders its premise with superficial treatment of complex issues. Director adopts a glossy visual style that glamorizes the world the screenplay ostensibly critiques, creating uncomfortable disconnection between intent and execution. The lead actress works hard to convey her character's compromises and rationalizations, but the script provides more clichés than insights into the emotional reality of commodifying intimacy. Supporting characters exist primarily as types—the concerned friend, the predatory client, the oblivious parents—without the development needed to feel like real people. When the film eventually gestures toward consequences and moral reckoning, it feels unearned after spending most of its runtime in exploitation territory. There's important subject matter here that deserved more thoughtful, less sensationalized handling than it receives.
Michael Petrone directs this sports comedy that attempts to blend "Dodgeball" energy with family-friendly sentimentality but doesn't quite stick the landing. The story follows a group of misfits entering a retro-themed athletic competition, aiming for underdog triumph and personal redemption. The cast tries gamely to sell the material, and there are moments of genuine humor scattered throughout, but the script can't decide whether it wants to be a sincere sports movie or an outright parody. The tone wobbles between earnest character development and broad slapstick, often within the same scene. Some of the athletic sequences are well-choreographed and fun to watch, yet the emotional beats feel manufactured rather than earned. The film's heart is in the right place, celebrating teamwork and persistence, but the execution lacks the sharpness needed to make either the comedy or the sentiment truly land. It's passable entertainment that might work for undemanding viewers on a lazy afternoon, though it won't leave much impression once the credits roll.