Movies

3 Can't-Miss New HBO Max Movies to Stream This Weekend (April 25–26)

3 Can't-Miss New HBO Max Movies to Stream This Weekend (April 25–26)
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HBO Max supercharges the fourth weekend of April with some of the month’s strongest new movies, headlined by the streaming premiere of 2025 awards juggernaut Marty Supreme. If you skipped theaters—or the $19.99 rental—now’s the time to hit play.

This fourth weekend of April 2026, HBO Max quietly dropped a small but killer batch of new movies. The big one is the streaming debut of 2025 awards magnet 'Marty Supreme'. If you skipped the $19.99 rental window, now is your moment. I also want to flag two other fresh adds worth your time: Bryan Fuller’s feature debut 'Dust Bunny' (yes, Mads Mikkelsen and Sigourney Weaver in an indie action- fantasy ) and the Jennifer Lawrence comedy 'No Hard Feelings', which plays even better at home.

'Marty Supreme' (2025)

Set in 1950s New York, Marty Mauser (Timothee Chalamet) is dead set on becoming the world’s best ping pong player. He hustles his way into the British Open, makes an improbable run, and then gets iced in the final by Koto Endo (Koto Kawaguchi), a deaf Japanese phenom. Back in New York, Marty doubles down on chasing glory while his life frays because of his own choices: an affair with an older woman, mounting debts, a lost dog, a stint behind bars, and the very real possibility he is the father of a baby that has not been born yet. The guy cannot catch a break.

On paper it went 0-for-9 at the Oscars this year, but it still plays like an awards heavyweight. Chalamet did snag the Golden Globe for Best Actor, and you can see why. Director Josh Safdie channels the high-strung chaos he brought to 'Good Time' and 'Uncut Gems'; this is the rare movie that feels like an anxiety attack you somehow enjoy. It rips along with breakneck pacing, textured world-building, and lived-in turns from familiar faces like Gwyneth Paltrow alongside unexpected non-actors ( yes, filmmaker Abel Ferrara shows up). It is a can’t-miss.

'Dust Bunny' (2025)

Eight-year-old Aurora (Sophie Sloan) is certain a monster under her bed killed her parents. So she hires the neighbor in apartment 5B — an unnamed hitman played by Mads Mikkelsen — to take it out. He quickly realizes the more likely story: assassins came for him and mistakenly murdered Aurora’s parents. When he reports up the chain, his handler Laverne (Sigourney Weaver) gives a cold directive — kill the kid. After 5B drops a hitman who comes for Aurora, a stop with a child-protection agent uncovers a chilling pattern: caretakers in Aurora’s life tend to vanish. Choosing to protect her means 5B is fighting more than just hired guns.

This is the feature directing debut of TV veteran Bryan Fuller, the mind behind 'Hannibal', 'Pushing Daisies', and 'American Gods'. It is a neat reunion for Fuller and his 'Hannibal' lead Mikkelsen, and he pairs beautifully with newcomer Sloan — their odd-couple rhythm carries the movie. As an indie action-fantasy, it is enchanting and imaginative, stacked with striking visuals. The story is intentionally airy, more about mood than mechanics, but it aims for feeling and lands something surprisingly moving.

'No Hard Feelings' (2023)

Jennifer Lawrence plays Maddie Barker, a 32-year-old Long Island native juggling Uber shifts and bartending while her childhood home is about to be swallowed by bankruptcy. Desperate, she answers a Craigslist ad from a well-off couple (Matthew Broderick and Laura Benanti) who want someone — anyone — to date their painfully shy 19-year-old son, Percy (Andrew Barth Feldman), long enough to pull him out of his shell before he heads to Princeton. The incentive: a Buick Regal if she pulls it off. Clock ticking, bills looming, Maddie throws herself at an assignment that might be impossible and definitely messy.

As a star vehicle, it is a reminder that Lawrence has real rom-com chops — sharp timing, fearless physical comedy, and grounded dramatic beats. The movie can play it safe here and there, but it is funny, oddball, and the chemistry between Lawrence and Feldman carries it. Under the gags, it also pokes at those arbitrary markers of adulthood we pretend are universal — growing up is weird at 19, and it is still weird at 32.