13 Best Movies Streaming on Peacock Right Now (October 2026): ‘Disclosure Day’ and More

Daniel Kellner (Josh O’Connor) is a cybersecurity analyst who steals classified intel from the government. Margaret Fairchild (Emily Blunt) is a TV meteorologist who suddenly experiences odd behavior, like suddenly knowing and speaking multiple foreign languages (and some unknown to mankind) and exhibiting telepathic abilities. Daniel and Margaret don’t know each other, but they soon will, and their alliance will uncover a shadowy conspiracy involving the U.S. government and the possible existence of extraterrestrial life. But is this unlikely dynamic duo legit, or simply sharing their own delusions?

Disclosure Day marks the return of director Steven Spielberg to the sci-fi genre after his forays into musicals (West Side Story) and family dramas (The Fabelmans). He’s as good as ever at constructing a chase scene, and he shows great care in making Margaret a fully dimensional character who undergoes a startling transformation as the movie progresses. The film isn’t as surprising as you want it to be, but it’s a great example of how top-tier creative talent can make an ordinary story by design extraordinary in execution.

Norman and Claire Spencer (Harrison Ford and Michelle Pfeiffer) must face an inevitable reality: their daughter is leaving home. She’ll soon be a college freshman, and they’ll have to fill their empty nest with something to do. Maybe that’s why Claire suspects the new neighbor of murdering his wife after she suddenly disappears. But that doesn’t explain why she’s seeing visions of a female ghost that seems to warn her she’s in some danger. Is Claire’s boredom kicking her imagination into overdrive to compensate? Or is she really at risk of becoming like the apparition that’s haunting her around her spacious Vermont home?

Even though it has a silly story that doesn’t make a ton of sense, What Lies Beneath works for two reasons: its stars and its vibes. It’s always a pleasure watching Pfeiffer in a big-budget film, and she’s magnetic as a lonely housewife who finds out her picture-perfect life isn’t so perfect. Set in rural Vermont, the film is an autumn lover’s dream and has enough shots of multi-colored forests to make you crave a pumpkin spice latte.

It’s been years since the mysterious murders at Camp Crystal Lake occurred, and it’s just about time for the camp to reopen to the public. As Ginny (Amy Steel) and the rest of the counselors arrive and make sure all the cabins are ready to be used, a mysterious man wearing a burlap sack mask lurks in the shadows. Could this be Jason Voorhees, the urban legend who preys on horny teenagers at Crystal Lake? Unfortunately for Ginny and her friends, they’re about to find out.

The Friday the 13th films aren’t great art, but most deliver what they promise — gory kills every 10 minutes or so and an atmospheric setting that’s used to maximum effect. Part 2 is probably the best of the sequels because its killer looks scary: Jason’s iconic hockey mask doesn’t appear until Part 3, and that white sack with one hole for Jason’s right eye is creepy-looking. It also has the series’ best final girl: Ginny, who doesn’t lose all of her wits as soon as she’s chased by Jason. 

Lincoln Rhyme (Denzel Washington) is a forensic detective who is the best there is at what he does. But after an accident left him mostly paralyzed, he’s not able to be as mobile as he needs to be to get the job done. When a serial killer begins to terrorize New York City, he teams up with novice cop Amelia Donaghy (Angelina Jolie) to find out who is killing innocent people and leaving behind bone fragments at the scene of the crime as clues to their identity. But as Lincoln continues to investigate, he realizes the killer might be closer to him than he realizes. 

Adapted from the Jeffrey Deaver book of the same name, The Bone Collector is an effective thriller with a ridiculous premise. Movie serial killers seemingly have an unlimited budget and ample time to kill their victims and stage them in such a way as to entice the hero, and this film’s baddie is about as realistic as Darth Vader. But the film works because Washington and Jolie make it work; their odd-couple duo gives the film the spark it needs to shine through all the thriller clichés it frequently dishes out. 

Leo’s (Ray Romano) life is pleasant but boring; he’s been married to his high school sweetheart, Angela (Laurie Metcalf), for decades, and they’ve successfully raised a teenage son, Matthew (Jacob Ward). But when Leo sees Matthew play basketball at his local high school, he becomes obsessed with believing his son has what it takes to be a college basketball star. Matthew isn’t so sure, and he’s more concerned with impressing his crush, Dani (Sadie Stanley). Will Leo living vicariously through his son disrupt the balance in his family?

Somewhere in Queens is a pleasantly low-stakes family drama where nothing major happens onscreen. The closest thing to melodrama is Angela’s cancer, which has been in remission for five years but has made her paranoid about it returning. The film is warm and uplifting without feeling cloying, and that’s due to Romano’s folksy charm as a well-meaning dad who pushes his son just a little too hard.  

Michael Myers’ reign of terror continues in Halloween II, an inventive sequel that takes place only minutes after the first film ended. The Boogeyman is still loose in Haddonfield, and Dr. Loomis (Donald Pleasence) is determined to hunt him down. Unbeknownst to him, Michael is still stalking injured heroine Laurie Strode (Jamie Lee Curtis), who is taken to the local hospital to heal from her wounds. Michael won’t leave her alone, though, and he’ll kill anyone who prevents him from eliminating her.

Initially trashed when it was first released, Halloween II has gained some critical appreciation over the years. Bloodier and far more graphic than the original, the film quadruples Michael’s body count — he kills doctors, nurses and even a poor, inept security guard. While the blood freely flows in this sequel, Halloween II still retains its predecessor’s ability to generate white-knuckle tension (the elevator scene is a classic nail-biter) out of the most mundane situations. Even with a bad wig and little to do besides walking around in a drug-induced haze, Curtis is still effective as a traumatized woman who is having the worst night of her life. The film ends on a definitive note, with Michael finally meeting his match (pun intended), but the still-thriving series has found unique ways of bringing him back for more mayhem.

Anna (Halle Bailey) needs a drastic change in her life  — immediately. Her mother just died, and her career as a chef is going nowhere. After her hot Italian hookup, Matteo (Lorenzo de Moor), tells her his Tuscan villa will be unoccupied for a long period of time, she decides to high-tail it to Italy and live her own Under the Tuscan Sun fantasy. Once there, she encounters a harsh reality — Matteo’s family is there, and they want to know who the hell she is. Anna claims she’s Matteo’s fiancée, and most of the family believes it except for Matteo’s hunky cousin, Michael (Regé-Jean Page). How long can Anna keep up this lie? Better yet, how long can she deny her growing feelings for Michael?

You, Me & Tuscany is nothing more or less than a typical rom-com. Yes, it has a far-fetched premise, but so do Sleepless in Seattle, 13 Going on 30 and all the other classics. What matters here is whether or not the lead couple has any chemistry, and it’s a relief to confirm that they do. Page showcases why he became a star in Bridgerton all those years ago, while Bailey has a plucky sweetness that makes her Anna a rom-com heroine you can root for.

The life of influential scientist J. Robert Oppenheimer is chronicled in Christopher Nolan’s superb, Oscar-winning biopic, Oppenheimer. Cillian Murphy stars as Oppenheimer, whose fascination with theoretical physics leads to his involvement in the Manhattan Project and the creation of the atomic bomb. But as he completes his quest to create the greatest weapon ever, he begins to be plagued by the consequences of his actions — and role in potentially destroying the entire world.

Oppenheimer is heavy stuff, and in lesser hands, you’d be weighed down by the gravity of it all. But Nolan’s gifts as a filmmaker make the topic of advanced science somehow thrilling. He’s helped by an extraordinary cast that includes Robert Downey Jr., Emily Blunt, Florence Pugh, Benny Safdie and every young actor in Hollywood under the age of 35.

Kenna Rowan (Maika Monroe) is trying to rebuild her life after a horrific car accident killed her boyfriend, Scotty (Rudy Pankow), and her role in the incident landed her in prison for six years. Free from incarceration, she moves back to her hometown, where her 5-year-old daughter, Diem (Zoe Kosovic), lives with Scotty’s parents. Things get complicated when Kenna strikes up a friendship — and perhaps even a romance — with Ledger Ward (Tyriq Withers), Scotty’s best friend and surrogate uncle to Diem. Kenna wants to make things right with her family and move on from the past, but will her romance with Ledger jeopardize her best-laid plans?

With a plot like that, it could only mean one thing — the film is a Colleen Hoover adaptation. The bestselling novelist is known for her overly complicated stories that somehow appeal to a mass audience, and Reminders of Him is no different. Still, the movie largely doesn’t sugarcoat Kenna’s messy situation, although you can rest easy knowing that things will work out for her in the end.

Saturday Night Live has been on the air for 50 years and for most of that time, Lorne Michaels has been the comedy wizard behind its Rockefeller Center curtain. After decades of operating behind the scenes, the creator and producer of one of the most influential shows ever made finally gets his time in the limelight with Lorne, a new two-hour documentary from Academy Award winner Morgan Neville.

As you can expect, the doc contains interviews from many of the stars he helped launch, like Tina Fey, Maya Rudolph, Chris Rock and Andy Samberg, as well as guest hosts like John Mulaney and Conan O’ Brien. What emerges is a fascinating portrait of a man obsessed with creating the best sketch comedy show that has ever existed. I think he succeeded on that front.

Wes Anderson is one of the most consistent directors of his generation — you know what to expect from each of his pictures, and they are all more or less pretty good. But he knocked it out of the park with Asteroid City, a loopy, Looney Tunes-inspired comedy that sneakily transforms into a moving meditation on art and the universal human need to tell stories. 

At a young astronomers’ convention in the titular desert city, a UFO suddenly appears and takes a meteorite from a crater in the town’s center. This amazing extraterrestrial first contact makes national news, resulting in a cadre of assorted reporters, scientists and religious groups to visit the city to see if the UFO will return. In the middle of all this chaos, a recently widowed father, Woodrow (Jason Schwartzman), struggles to reconcile his still lingering grief with a blossoming romance with famous film actress Midge (Scarlett Johansson). 

That’s the basic plot of Asteroid City, but there’s so much more going on, like a framing device that makes everything you’re watching an elaborate play that’s also being filmed as a television documentary. Confused? Well, that’s only natural, but it’s also what makes Asteroid City so effective, moving — and strikingly different from the director’s previous works. With a cast that includes Tom Hanks, Tilda Swinton, Adrien Brody and Margot Robbie, the movie is packed with enough starpower to keep you engaged, even when you get a little lost in its surreal story.

After his parents take him to a screening of The Greatest Show on Earth, young Sammy Fabelman (Gabriel Labelle) falls in love with the art of motion pictures. Through his tumultuous, upper-middle-class upbringing, Sammy’s constant is his camera, as he hones his novice filmmaking talents while dealing with the pains of adolescence and family. His world is ultimately shattered upon the reveal of a devastating family secret.

Steven Spielberg’s semi-autobiographical film doubles as both a revealing portrait of an artist as well as a love letter to cinema. Funny, intimate and featuring some fantastic cinematography, The Fabelmans was hailed by critics and received a number of Academy Award nominations, including best picture. The movie also stars Paul Dano, Michelle Williams and Seth Rogen.

Maggie Sherwoode (Dakota Johnson) is a personal assistant to R&B music legend Grace Davis (Tracee Ellis Ross), but she dreams of becoming a music producer. She wants to remix some of Grace’s song to give her boss a much-needed hit, but doesn’t have the courage or luck to do so. But when she develops a romantic relationship with aspiring musician David Cliff (Kelvin Harrison Jr.), Maggie just might get the necessary motivation to make her dreams come true.

A rom-com set in the modern music industry, The High Note is enjoyably fun and breezy, with three charming leads that breathe new life into the slightly cliched plot. The supporting cast consists of people you’d never seen in a movie like this, from Ice Cube to Diplo and Dakota’s real-life mom, Melanie Griffith. The High Note is a pretty routine rom-com, but it’s executed well enough to warrant a watch.