Streaming platforms like Disney+, HBO Max, Prime Video and more are taking advantage of the fall season by adding some of 2026’s best and biggest titles to their libraries.
Near the top of Watch With Us’ weekend binge list is Toy Story 5, the latest in the series that reunites Tom Hanks’ Woody and Tim Allen’s Buzz Lightyear for an all-new adventure.
If that’s too junior for you, head over to Paramount+ and stream one of 2026’s most underrated films, Tuner, with Leo Woodall and Dustin Hoffman.
We also recommend checking out the horror blockbuster Backrooms on HBO Max and the sweet rom-com The Love Hypothesis on Prime Video.
‘Toy Story 5’ (2026) — Disney+
Buzz Lightyear and Woody in ‘Toy Story 5.’ Walt Disney Studios Motion Pictures/Everett Collection
Woody (Tom Hanks), Buzz (Tim Allen) and the rest of the Toy Story gang have faced a lot of threats over the years, but none of them have been quite as intimidating as their newest enemy — Lilypad (Greta Lee), a frog-themed tablet that their human friend, Bonnie, becomes obsessed with. Lilypad wants the best for Bonnie, and that doesn’t include playing with toys she should’ve discarded a long time ago. Once again facing being sent to the great storage bin in the sky (or a local Salvation Army), Woody, Buzz, Jessie (Joan Cusack) and the other toys try to convince Bonnie she still needs them in her life.
The Toy Story movies are so good that even a “lesser” one like Toy Story 4 beats almost all of the animated films out there. This latest sequel is better than the last, with a topical theme about kids becoming too obsessed with being online to really enjoy being a kid — and that means playing with retro toys like Mr. Potato Head and Lil’ Bo Peep. In addition to its top-notch animation and Taylor Swift‘s Oscar-baiting ballad, what makes Toy Story 5 stand out is that it dares to move the spotlight away from Woody and Buzz and toward Jessie, the fun-loving cowgirl doll introduced in Toy Story 2. It’s her story, and her relationship to Bonnie, that takes center stage, and this sequel is better because of it.
‘Tuner’ (2026) — Paramount+
Dustin Hoffman and Leo Woodall in Tuner. Black Bear Pictures / courtesy Everett Collection
Niki White (Leo Woodall) works as an apprentice to a world-famous piano tuner, but his real talent lies in actually playing the instrument. Unfortunately, he has hyperacusis, which prevents him from playing or even being around noisy environments. His sensitive hearing turns out to be an asset when a trio of thieves discovers he can “hear” the combination of the safe they’re trying to break into. Niki isn’t a criminal, but he is broke and needs the cash to help pay for his mentor Harry’s (Dustin Hoffman) mounting medical bills. But can he balance a life of crime while somehow making his dreams of playing music come true?
I can confidently say Tuner is the world’s first piano tuner film noir; in fact, it might be the first movie to feature a piano tuner as a lead character. Fortunately, it’s also an incredibly good thriller, one of the year’s best, with great performances by Woodall and Hoffman. They have a father-son bond that makes you understand Niki’s actions, even if it doesn’t completely justify them. One of 2026’s most under-the-radar films, Tuner is an excellent suspense film with surprising depth and an ending I’m still thinking about months after I first watched it.
‘Backrooms’ (2026) — HBO Max
Renate Reinsve in Backrooms. A24 / courtesy Everett Collection
What’s in the Backrooms? That’s what Clark (Chiwetel Ejiofor) wants to know, and he’ll risk everything to find the answer. He doesn’t have much to risk, though: a divorced man with a failing furniture business, his depression about his life is only matched by his curiosity about the strange alternate dimension that lies just beyond his store’s walls. When he and several of his employees go missing one day, his therapist, Mary (Renate Reinsve), investigates, but as she’s drawn deeper into the Backrooms, she realizes the biggest danger lies within her own subconscious.
Grossing over $400 million at the box office, Backrooms was one of 2026’s breakout hits. With its focus on creepy liminal spaces and the traumatic backstories of its lead characters, the horror film skews more psychological than visceral. Director Kane Parsons was only 20 years old when he made Backrooms, but he shows a confidence and maturity most filmmakers double his age lack. The film’s best asset is its creepy and effective production design, which somehow manages to make an alternate world of abandoned places and empty hallways seem scary. Backrooms is satisfying when you first watch it, but becomes even better the more you think about it.
‘The Love Hypothesis’ (2026) — Prime Video
Lili Reinhart and Tom Bateman in The Love Hypothesis. Prime Video/Everett
Stanford graduate student Olive (Lili Reinhart) has a problem — she has a major crush on a guy her best friend, Anh (Rachel Marsh), is into. Despite her feelings, she wants Anh to go out with him and to prove to her she’s over him, she impulsively kisses a professor, Adam (Tom Bateman) and pretends they’re in a relationship. Olive asks him to go along with the ruse, and he agrees so he can secure a much-needed grant. But what happens when their fake romance starts to turn into real love?
The result is a wildly improbable rom-com that is also irresistible. Based on the novel by Ali Hazelwood, which began as Star Wars fan fiction pairing Rey (Daisy Ridley, Bateman’s wife) and Kylo Ren (Adam Driver), The Love Hypothesis fully commits to its ridiculous premise. It’s entertaining to see Olive and Adam pretend to be a real couple, with Adam straining to even smile around her. Their journey from perfect strangers to potential lovers is a hoot to watch, as are the many scenes where Bateman takes his shirt off for the flimsiest of reasons. This movie knows who its audience is, and it serves them well.
