10 New Movies on Tubi Worth Adding to Your October Watchlist
Your October watchlist just got longer with Spider-Man, modern horror favorites, sci-fi classics, and more newly added movies on Tubi.
You know that satisfying feeling when your watchlist finally starts looking manageable? Yeah, enjoy it while it lasts.
October just dropped a fresh batch of movies onto Tubi, which means all that responsible “I'll watch what I already saved first” energy can politely see itself out. This month's arrivals have the kind of recognizable favorites, overdue rewatches, and wait, that's on Tubi now? discoveries that make pressing “+ My List” much easier than actually deciding what to watch first.
So we did some of the scrolling for you. Tubi's Recently Added collection has plenty more where these came from, but we're starting with 10 new movies on Tubi this October worth moving toward the top of the queue.
Clear some room. Your watchlist had a good run.
Spider-Man: Homecoming
Peter Parker has homework, superhero responsibilities, and about zero ability to keep those two parts of his life from colliding.
Tom Holland settles into his first solo outing as Peter in Spider-Man: Homecoming, where an eager young Spidey is desperate to prove he belongs alongside the Avengers after getting his first taste of the big leagues. Michael Keaton has other plans as Adrian Toomes, aka Vulture, whose high-tech operation gives Peter a more dangerous extracurricular activity than anything happening at school.
Homecoming works especially well because Peter is still allowed to be a teenager underneath the suit. He makes mistakes, wants to impress Tony Stark, worries about school, and occasionally discovers that saving the day is a tad harder when you're supposed to be home by curfew. And once the credits roll, you don't have to put the web-shooters away. Spider-Man: Far From Home is also newly on Tubi, sending Peter and his classmates to Europe for a school trip that gets interrupted by superhero business and Jake Gyllenhaal's very charismatic Mysterio.
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The Social Network
Before doomscrolling, blue checks, and explaining to your relatives why they shouldn't believe everything they see online, there was Facebook.
David Fincher's The Social Network turns the company's beginnings into a razor-sharp story about ambition, friendship, betrayal, and what happens when a dorm-room idea becomes bigger than the people who created it. Jesse Eisenberg plays Mark Zuckerberg with chilly intensity, while Andrew Garfield gives Eduardo Saverin the emotional weight needed to make a business dispute feel deeply personal.
Aaron Sorkin's dialogue moves fast, Trent Reznor and Atticus Ross make coding somehow feel ominous, and Fincher turns people arguing in rooms into something as tense as an action movie. Your group project could never.
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Midsommar
Flowers. Sunshine. Matching white outfits. A beautiful Swedish countryside. See? Nothing concerning here.
Florence Pugh's Dani joins her boyfriend Christian and his friends on a trip to an isolated midsummer festival in Midsommar, where perpetual daylight means even the movie's worst moments have nowhere to hide. Ari Aster takes the darkness usually associated with horror and replaces it with open fields, bright colors, elaborate rituals, and a community that's perhaps a little too welcoming.
Underneath all the folk-horror imagery is a relationship already falling apart before anyone reaches Sweden, giving the movie an emotional breakup story almost as uncomfortable as everything happening around it. Maybe don't accept every invitation to the countryside.
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Heretic
Hugh Grant would like to invite you inside. Maybe don't.
Two young missionaries arrive at the home of Mr. Reed expecting another conversation about faith. Instead, Heretic traps them inside an increasingly unsettling test of belief, control, and exactly how much they can trust the seemingly charming man asking all the questions.
Grant weaponizes decades of affability to make Reed especially unnerving, while Sophie Thatcher and Chloe East keep the movie from becoming his show alone. Their characters have to think their way through a situation where every conversation feels like it could be another trap. Never has polite conversation felt so threatening.
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The Terminator
He said he'd be back. Now he's on Tubi.
James Cameron's The Terminator sends Arnold Schwarzenegger's seemingly unstoppable cyborg assassin from the future to 1984 Los Angeles with one mission: kill Sarah Connor before she can give birth to the man who will one day lead humanity's resistance against the machines.
Linda Hamilton makes Sarah's transformation from an ordinary young woman into someone fighting for survival the real engine of the movie, while Schwarzenegger turns minimal dialogue and one very determined walk into sci-fi history. More than four decades later, the movie still makes a compelling argument for being suspicious of both artificial intelligence and unusually muscular strangers asking for your clothes.
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District 9
Aliens arrive on Earth and humanity responds by giving them bureaucracy. Sounds about right.
District 9 drops extraterrestrial refugees into Johannesburg, where they're confined to a militarized settlement and treated less like visitors from another world than an unwanted population to be controlled. Sharlto Copley's Wikus begins as a bureaucrat helping relocate the aliens, only for an encounter with unfamiliar technology to make the distance between “us” and “them” harder to maintain.
The sci-fi spectacle is here (alien weapons included) but the movie's staying power comes from how comfortably its uglier human behavior fits inside the fantastical premise. The aliens might not be the most concerning species onscreen.
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The Goonies
Pirate treasure. Secret tunnels. Booby traps. One last adventure before your neighborhood changes forever. Childhood really used to have plans.
The Goonies sends Mikey, Mouth, Data, Chunk, and the rest of the gang searching for the legendary treasure of One-Eyed Willy after discovering an old map. Unfortunately, the criminal Fratelli family has chosen roughly the same weekend for their own activities, turning the treasure hunt into something more dangerous.
Richard Donner's adventure has spent decades becoming generational comfort viewing because the kids actually feel like kids: loud, messy, funny, occasionally terrified, and completely convinced they can pull off something impossible. Goonies never say die. Your couch plans don't stand a chance.
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Goosebumps
R.L. Stine spent years putting monsters inside books. This movie asks the obvious question: what happens when somebody lets them out?
Jack Black plays a fictionalized version of Stine in Goosebumps, where the creatures from his manuscripts are very real and safely trapped on the page, until they're not. Slappy the Dummy leads an escape that turns the surrounding town into a greatest-hits tour of Goosebumps nightmares. Werewolves, giant insects, murderous garden gnomes: everybody got the invitation.
With Tubi already deep in its R.L. Stine era, this is an easy October pick for anyone who wants spooky-season energy with enough adventure and comedy to keep things fun. Our R.L. Stine watchlist article has even more ways to keep the scares going once Slappy is safely back on the page.
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Ready or Not
Meeting the in-laws is stressful enough before somebody hands you a weapon.
Samara Weaving's Grace marries into the wealthy Le Domas family in Ready or Not and learns that joining the clan comes with one mandatory wedding-night tradition: play a game. She draws hide-and-seek. Unfortunately, the family plays to win.
Weaving balances panic, disbelief, fury, and increasingly blood-soaked determination as Grace spends the night trying to survive people who have turned family tradition into a contact sport. The movie moves quickly, keeps its tongue firmly in its cheek, and understands that watching an extremely rich family have a spectacularly bad evening can be its own reward. Till death do us part came early here.
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Close Encounters of the Third Kind (Director's Cut)
Not every alien encounter needs to begin with somebody reaching for a weapon. Sometimes it starts with lights in the sky and a five-note melody you won't be getting out of your head anytime soon.
Steven Spielberg's Close Encounters of the Third Kind centers on Roy Neary, an ordinary man whose encounter with a UFO leaves him consumed by images and impulses he can't explain. Richard Dreyfuss makes Roy's obsession feel exhilarating and unnerving at the same time as other people around the world begin experiencing pieces of the same mystery.
The Director's Cut gives Spielberg's sci-fi landmark room to lean into the awe of encountering something humanity doesn't understand. Instead of treating the unknown as something that automatically needs to be feared, the movie builds toward communication, curiosity, and the possibility that looking up at the sky might inspire wonder before panic. Between the glowing spacecraft, John Williams' unforgettable musical language, and Roy's increasingly consuming need to understand what he saw, the movie makes first contact feel appropriately enormous.
Not a bad place to end our latest round of watchlist additions. Your queue can handle the rest.
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