February 17, 2025
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Fubo might be known for its live sports programming, but there’s a lot to choose from in the field of on-demand movies. From modern classics to more recent hits, the titles on offer may be limited but they sure cover a lot. To get you started, here are some of the best movies streaming right now on Fubo.
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Leo and Remi are close. They play, eat, and sleep together, and in between those moments, they share every thought they have with each other, no matter how big or small. Theirs is a precious friendship, as pure and as intimate as can be, but all that changes when they begin middle school. Subject to heteronormative norms and preteen mockery, their friendship starts to crack as Leo and Remi’s different definitions of manhood emerge.
Subtle but evocative, quiet but deeply powerful, Close takes a closer look at boyhood and male friendships—how they’re lived, defined, and seen. Plenty of questions go unanswered in this film, but if you’re comfortable with simply empathizing with the characters rather than knowing every answer, then Close comes highly recommended.
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The idea of representation in movies is often limited to superficial gestures of putting on screen people who look a certain way. Kokomo City is a reminder of cinema’s possibilities when one really tries to queer filmmaking itself, with genuine queer voices driving a production. This documentary is messy and incredibly playful in its style—in ways that might read to some as lacking cohesiveness, or as tonally inconsistent. But the way director D. Smith is able to capture the dynamic energy of a series of conversations makes these powerful, funny, tragic anecdotes and dialogues feel truly grounded in people’s everyday experiences, and makes the plea for protection of trans lives all the more urgent.
Throughout Kokomo City, this collection of individuals goes off on various tangents that never become difficult to follow. They speak about the nature of sex work, hidden desires felt by traditionally masculine male clients, and various degrees of acceptance within the Black community. And between these statements alternating from impassioned to emotional to humorously candid, Smith injects cheeky cutaway footage, layers text on screen, and plays an eclectic rotation of music throughout. It’s about as real and as three-dimensional as these trans lives have ever been shown on screen.
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2005 was a banner year for British period dramas, apparently: first, there was Joe Wright’s Pride & Prejudice (still arguably the genre’s crowning achievement), and then came Under the Greenwood Tree, a delightful made-for-Christmas-TV romance loosely based on the eponymous Thomas Hardy novel. Anyone familiar with the author’s typically tragedy-tinged stories — think Tess of the D’Urbervilles and Far From the Madding Crowd — will find themselves surprised by the light, pleasant tone of this one, in which the closest anyone gets to violent revenge is sabotaging a church organ by pouring a flagon of cider into it.
The romance here is threefold: when Keeley Hawes’ spinster schoolteacher Fancy Day (genuinely her name) arrives in an English village, she ignites a rivalry between wealthy farmer Shiner (Steve Pemberton), haughty clergyman Parson Maybold (Ben Miles), and James Murray’s die-hard romantic Dick Dewy (again: the names in this are a choice). The trio’s simultaneous attempted courting of Fancy doubles as both the entertaining will-she-won’t-she stuff of romantic dramas and a conduit through which the movie explores the class dynamics in England during the 19th century. It’s this deft intertwining of satisfying romantic period drama tropes with genuine reflection on the historical period itself — all while remaining lighthearted — that makes this underseen adaptation worth watching.
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Michael Jackson’s death triggers the sudden unraveling of a young imam’s buttoned-up life in this idiosyncratic Egyptian character study. The news of the singer’s passing sets Khaled (Ahmed El-Fishawy) straining against reawakened memories of his youth as a mullet-sporting MJ fanatic, before his joyful creative spark was stamped out by two disparate forces: a mocking, macho dad who punished Khaled for his vulnerability and the conservative uncle who took him under his wing.
Sheikh Jackson mostly takes place across two intertwining timelines: Khaled’s free-spirited adolescence and his adulthood, which has so far been defined by a self-flagellating, fire-and-brimstone brand of Islam. These two strands form a neat illustration of the binary options Khaled was led to believe he had to choose from — but, as the movie’s title hints, he might not have to choose at all, a revelation that doesn’t come easy because it flies in the face of everything he’s been taught. Free from the judgemental impulses of Western cinema when it comes to characters like Khaled, Sheikh Jackson is both an introspective portrait of the universal struggle of defining one’s own identity and a refreshingly nuanced look at how that experience might play out in the modern Arab world.
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The film that catapulted Kevin Costner to fame, No Way Out, is based on a novel by Kenneth Fearing, “The Big Clock”, and is also preceded by a film adaptation of it, around 40 years prior. Director Roger Donaldson found himself in charge of a film, haunted by the Cold War and spy thriller tropes, but already aligning itself with the late 80s erotic thriller. In a way, No Way Back is a symbol of this transitional period, but by retaining the classic noir vibe (deception, fleeing, yearning), it becomes a tribute to the past. In the film’s own past, a love triangle is taking shape in a rather unconventional way: layered with all three of the aforementioned dispositions. Two men want the same women, but their relationship is further complicated by professional hierarchies and the quest to own the past they both shared with Susan.
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In 1961, Francisco de Goya’s portrait of the Duke of Wellington was stolen from London’s National Gallery, but the theft was no slick heist pulled off by international art thieves. No, the improbable culprit was (the improbably named) Kempton Bunton, a retired bus driver and aspiring playwright who pinched the painting — which the gallery had recently acquired for £140,000 of UK taxpayers’ money — as a Robin Hood-esque “attempt to pick the pockets of those who love art more than charity.” The principled Bunton (played here by Jim Broadbent) was, at the time, waging a one-man campaign to convince the government to grant pensioners and veterans free TV licenses, and the Goya theft was his way of publicizing those efforts. It was an eccentric plan, but Broadbent leans fully into his status as a UK national treasure here, making oddball Bunton a deeply sympathetic and warm figure because of (not despite) those quirks. Thanks to his performance — and the note-perfect direction of the late, great Roger Michell — a quirky footnote of history becomes a sweet, unexpectedly moving story about solidarity and the power of the underdog.
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Jules’ wacky premise — an extra-terrestrial crash-lands in eccentric widower Milton’s (Ben Kingsley) flowerbeds — is a bit of a misdirection. While the movie is technically a sci-fi (featuring, as it does, some very out-there alien engineering), it’s really a charming, mostly-human drama about the isolation and surreality of aging.
Though the mute presence of the alien (nicknamed Jules and played brilliantly by a totally silent Jade Quon) is a constant reminder of the expansiveness of the universe and strange wonders yet to be discovered, the movie keeps its feet firmly on the ground with a sensitive exploration of just how small the worlds of lonely, dementia-struck Milton and two other isolated elderly townspeople (Jane Curtin and Harriet Sansom Harris) are. Rather than expand outwards into a story about the extra-terrestrial itself, Jules focuses on the painful disorientation felt by its lonely trio of protagonists, who all find therapeutic relief and connection by way of the alien and its “understanding eyes.” Though the movie’s zany forays into sci-fi territory do sometimes boggle the mind, they never undermine the genuine emotion in Jules’ raw grappling with the experience of aging, as well as give the movie a quirky charm that ensures you won’t see anything like this again soon — an increasingly rare experience in itself.
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Cheerfully outrageous yet heartwarmingly tender, the Adventures of Priscilla, Queen of the Desert was ahead of its time, daring to dive into drag and transexuality, when the rest of the world was still coming around to accepting homosexuality. On the bus which the title is named after, two drag queens and a trans woman have a road trip, that does have some difficult moments, when they drive through intolerant towns, but overall, becomes quite lovely, as the three forge a bond through drag, witty, sarcastic quips and sharing vulnerable moments. While all three leads are portrayed by cis men, and the role of Bob’s Filipino wife feels slightly stereotypical, overall, The Adventures of Priscilla is a grand ol’ time, a joyful film about finding family in a world where tolerance wasn’t a guarantee.
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Charlie Chaplin has been called the most famous person of all time, soaring into global renown way before mass media and the internet made it all too easy, but only a few accounts have tried to paint a complete picture of the man behind the clipped mustache and bowler hat. This documentary by James Spinney and Peter Middleton comes very close, mainly because all sides of Chaplin’s complicated history are heard. The directors show grace to his stressed-out co-stars and groomed wives, especially poor Lita Chaplin, so we come out of the film learning how far from perfect Chaplin was. That’s what sets this documentary apart from all the Chaplin biographies out there: it strikes a very fine balance between celebrating the objective breakthroughs the actor has accomplished and criticizing the consequences of his less-than-ethical actions. This is a real person after all, not some beloved caricature. It helps that the animation and script are utterly delightful, and that narrator Pearl Mackie has the soothing and graceful voice of a patient educator.
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Despite the title and the premise, The Naked Kiss is actually less raunchy than it sounds. Sure, it does have themes that seem more explicit than what’s expected from older classic films, but writer-director Samuel Fuller considers these themes with the weight it deserves, directly challenging the way the men of the town would scorn Kelly’s wares at the same time they’re taking a taste, and at the same time they’re willing to look away from the unpleasant truths lurking in the suburbs because of money. With memorable shots and a surprising song number halfway, The Naked Kiss plays with expectations for an earnest belief in change.
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