3 Best Movies To Watch on Prime Video This Week (April 6-10)
There’s a new crime film topping Prime Video’s movie rankings this week, taking the number one place from Timur Bekmambetov’s Mercy. Bart Layton’s Crime 101, starring Chris Hemsworth and Halle Berry, is ruling the charts on the streaming service right now, thrilling audiences with its heist action story. But that’s not the only entertaining movie you could watch on the platform. From genre classics to modern hits, Prime Video’s library has a wide range of options to explore. Here’s a look at three great movies that we think you should watch on Prime Video this week.
Directed by Spike Jonze and written by Charlie Kaufman, both in their feature debuts, Being John Malkovich is a surrealist fantasy comedy-drama starring John Malkovich as a fictional version of himself. The movie follows Craig Schwartz, an unemployed puppeteer, who discovers a mysterious portal into Malkovich’s mind, which leads to unexpected changes and consequences. John Cusack stars as Craig, with Cameron Diaz, Catherine Keener, Ned Bellamy, Orson Bean, and more in supporting roles, and Charlie Sheen as himself.
When it first came out in 1999, Being John Malkovich was very well-received by critics, earning praise for its highly original narrative and masterful direction. The movie was also fairly successful at the box office, grossing $23 million against a $13 million budget, and it went on to receive several accolades, including Academy Award nominations for Best Director, Best Supporting Actress, and Best Original Screenplay. A wildly inventive and enjoyably offbeat film, Being John Malkovich is now regarded as a classic meta-comedy elevated by the entertaining performances of its ensemble cast and the sheer absurdity of its premise.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
2
‘The Terminator’ (1984)
Starring Arnold Schwarzenegger in the title role, The Terminator is a sci-fi action thriller directed and co-written by James Cameron that revolves around a cyborg assassin from a dystopian future where humanity is locked in an existential battle against the evil AI Skynet. Sent back in time to the 1980s, the Terminator seeks to kill Sarah Connor (Linda Hamilton), thus preventing the birth of her son, who is destined to be a hero in the fight against the machines. Michael Biehn co-stars as Kyle Reese, a human soldier from the future who similarly travels back in time to protect Sarah. The movie also features Lance Henriksen, Paul Winfield, and Earl Boen in supporting roles.
The Terminator had a very mixed critical reception when it first premiered in 1984, but the film was a major box office success, and it’s now regarded as one of the most iconic movies of the ’80s. A thrilling tech-noir take on the slasher subgenre, the film amassed a huge fan following and helped establish Cameron’s reputation as a master of the sci-fi genre. In the years since, The Terminator has spawned a massive multimedia franchise that includes multiple sequels, games, TV shows, and comics. The film was selected for preservation in the United States National Film Registry by the Library of Congress in 2008, cementing its status as a genre classic.
3
‘Crime 101’ (2026)
Written and directed by Bart Layton, Crime 101 is an adaptation of Don Winslow’s 2020 novella. The film follows a master thief (Chris Hemsworth) who teams up with a frustrated insurance broker (Halle Berry) for a multi-million dollar diamond heist, but the scheme is threatened by the involvement of an intrepid detective (Mark Ruffalo) and a psychotic young biker (Barry Keoghan). The movie also features Monica Barbaro, Corey Hawkins, Jennifer Jason Leigh, and Nick Nolte in supporting roles.
Powered by the stellar performances of its star-studded ensemble, Crime 101 was well-received by critics after its January 2026 premiere and has been very popular on streaming services, even though its box office run has so far been a disappointment. It’s a slick heist film with excellent action set pieces and interesting characters, drawing inspiration from the crime-noir canon (particularly the films of Michael Mann) while telling a fresh story. The movie may not be entirely unpredictable, at least to genre fans, but it’s a highly entertaining watch nonetheless.
Release Date
February 13, 2026
Runtime
140 Minutes
Director
Bart Layton
Writers
Bart Layton, Peter Straughan
Producers
Derrin Schlesinger, Eric Fellner, Shane Salerno, Tim Bevan, Chris Hemsworth, Ben Grayson, Dimitri Doganis, Bart Layton
