Over 1,000 FREE movies and TV shows added to popular Fire Stick app with hits including Death Becomes Her and The Purge
A POPULAR streaming app has added over 1,000 movies and TV shows to its catalogue - and they're all free.
It even includes cult classics like Resident Evil, Death Becomes Her and The Purge.
2
2
Tubi offers a free ad-supported video-on-demand library which is compatible with Fire Sticks and mobile devices.
Since launching in the UK in July 2024, the streamer has expanded to include more than 40,000 movies and TV episodes.
The latest additions to the platform's extensive material comes from its deals with major distributors like AMC Networks, Lionsgate, NBCUniversal, New Regency and Sony Pictures.
It includes films like Baby Driver, Zombieland, The Purge, and Mama - as well as a range of TV shows.
Ross Appleton, General Manager of Tubi's UK service, said: "Since launching nearly a year ago in the UK, Tubi has doubled its library size, cementing its position as offering the biggest collection of free movies and TV series in the UK.
"With rising costs and fragmentation in streaming, Tubi will continue to offer viewers extensive content choice and a highly personalised viewing experience. All for free."
Sam Harowitz, SVP of Content Acquisitions and Partnerships at the company said they had looked at performance data to help them choose which genres to focus on.
He said: "With these latest studio library deals we have further invested in robust existing partnerships and doubled down on providing fandoms with a deep catalogue of movies and TV series across top performing genres such as horror, action, thrillers, and comedies."
In addition to its licensed content, the streaming service has also produced more than 300 exclusive originals.
This includes the adult animation The Freak Brothers which was met with positive reviews.
Roku reveals brand new streaming stick TV device packed with free channels
With a star-studded cast including Woody Harrelson, John Goodman and Pete Davidson, the show followed three Freak brothers and their cat as they adjust to life in 2020 after a magical strain of marijuana put them to sleep for 50 years.
If you're looking for a more family-friendly show, viewers can enjoy the popular animated series RoboForce which boasts a 9.2 / 10 star rating on IMDB.
The streamer has also debuted an extensive list of original documentaries for those looking for a more hard-hitting TV show.
Housing the largest collection of on-demand content, with 275,000 movies and TV episodes, the popular streamer has amassed a fanbase of 97 million monthly active users.
With a range of foreign language films, and availability in countries including Ecuador, Mexico, Canada and Australia, it's no wonder the platform has amassed such a global viewership.
The service was founded in 2014 as a revolutionary stand out in the streaming sector.
Instead of a subscription-based model, the company relies on ads to provide a free service to its millions of users.
Platforms like this have become increasingly popular as the cost of living has gone up and households have cut down on the number of services they pay for.
All you need to do to access the seemingly endless free content is sign up to an account online.
You can then download the app across a range of compatible devices - including Fire Sticks and mobile phones - to make the most of their content, wherever you are.
The streamer is also running a competition for indie filmmakers that could launch their career.
In a collaboration with Kickstarter, their FilmStream Collective gives filmmakers the opportunity to access funding with guaranteed distribution on the platform.
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Spectator
3 days ago
- Spectator
The politics of horror
Everyone forgets the actual opening scene of 28 Days Later, even though it's deeply relatable, in that it features a helpless chimp strapped to a table and forced to watch doomreels of ultraviolence until it loses its little monkey mind and eats David Schneider. But it's eclipsed by the famous sequence that follows where Cillian Murphy wakes in a hospital bed to find that he has slept through a deadly pandemic and the ensuing collapse of civilisation. As Murphy drags his not-yet-world-famous cheekbones through an eerily abandoned metropolis, we see Piccadilly plastered with the names and faces of the missing and the dead. Audiences in 2002 were reminded of the recent World Trade Centre attacks, which happened in the middle of filming. Unfortunately, it was about to get a lot more prescient. This week, as the long-awaited last instalment of Alex Garland's zombie trilogy hits cinemas (reviewed in this issue), it's worth looking back on the first two films – the second, 28 Weeks Later, premièred in 2007 – which feel like a 'coming up next' montage for two decades of economic collapse, climate breakdown, civil unrest, carnage and chaos. There's the theatre of quarantine, the masked soldiers swabbing holding pens of survivors. There's Naomie Harris, the original exposition ninja: 'It started as rioting and right from the beginning you knew this was different. Because it was happening in small villages, market towns, and then it wasn't on the TV any more, it was on the street outside… By the time they tried to evacuate the cities it was already too late. The infection was everywhere.' Decent horror does a lot more than scare the audience. It asks us to think about what frightens us, and why. The big three monsters of mass culture are vampires, werewolves and zombies, in descending order of sexiness. I apologise to everyone whose doctoral theses I'm about to comic sansify but, in brief, the big three are essentially ego, id and superego: vampires are about power, exploitation and the nasty suspicion that, given the chance, you, too, might be prepared to hurt other people if it meant getting to flounce about for ever in a mansion. Werewolves are about the monster inside you, about the fear that one day you'll lose control, tear up your life and wake up in the woods with a weird headache and wearing the wrong trousers. But zombies are the most obviously political. Zombies are all about our fear of other people. Terror of the unstoppable mob has been baked into the genre from the beginning. In the 1960s, George Romero's Living Dead franchise caught the mood of the mass protest and played into polite society's fear of the civil-rights movement. In the intervening decades we've been served every flavour of shambling undead, and all of them, even Resident Evil, offer us what looks like a reassuringly simple moral choice. The horde has ceased to be sentient and cannot be reasoned with; there is no way to have a productive debate with someone who actively is trying to chew out your pituitary gland. Which is upsettingly relevant to the recent experience of representative democracy. Garland's ravenous, man-eating mobs of 'infected' are not, technically, undead – they're just very, very cross. The virus spreading unstoppably across the nation is, simply, 'rage'. If you'd pitched that in 2020, it might have felt too on the nose, but Garland has already explicitly told us 28 Years Later is more about Brexit than it is about Covid. Zombie movies aren't just about fear of the mob – they're also about the horror of having to tolerate other people. They're about the price we pay for the notional protections of civilisation, and they're rarely subtle about it, which is fine, because nobody watches monster movies for delicate analogy, and personally I prefer my Hobbesian dilemmas served up with dishy actors dressed mainly in other people's blood panting, screaming and swinging baseball bats. 'Are we the baddies?' is hardly an original thought, but the question will remain relevant until western society comes up with an answer. In the final act of 28 Days Later, it turns out that there are more frightening things than the mindless mob: there is power wielded with ruthless efficiency. There's the cold logic of institutional violence, made flesh in Major Henry West, played with appalling composure by Christopher Eccleston, who shelters our heroes in the apparent safety of his military compound. But West has a problem: his men are despairing, because they have the means of survival, but nothing to hope for. Without women, he explains, there is no future. West's simple solution is to kidnap women and forcibly breed them in exchange for protection from the mob, and while going right to institutional gang-rape might have seemed like a wild escalation in 2002, these days he would be just one YouTube ethno-fascist among many. I suspect we'll be coming back to this theme in the final film, purely on the basis of the trailers, where a suspiciously monochromatic crowd of survivors seems to be doing some sketchy religion on Lindisfarne. Alex Garland is famously genre-queer – skipping provocatively from big-budget disaster movies to contemporary tech thrillers to murder mysteries in space – but he has certain predictable tropes. Something disgusting will always happen to a priest. Someone will be overwhelmed by the implications of technology and have an existential breakdown. There will be a scene full of bristling symbolism, where someone will run through a forest while a hypnotic soft-metal soundtrack plays. A bloviating, overpowered alpha-male type will play god; a brave lady with an edgy short haircut will try to stop him; and a sensitive young man will have to pick a side. Over and over again, in action and science fiction and folk horror, Garland grapples with how men are meant to make women love and serve them. It's the driving issue of Ex Machina and of Men, the 2022 low-budget surrealist horror where Jessie Buckley gets hunted through the woods by far too many Rory Kinnears. And over the course of the century the question has become far less academic. In this age of universal catastrophism, where we all at least get to choose our own apocalypse, some people are far less troubled by plague, famine or financial meltdown than they are by the collapse of certain social norms. Immigration. The active presence of gay and transgender people trampling all over our tidy traditions. And women who don't need men. I was 14 when I watched the final, controversial scenes of 28 Days Later, where the women in Murphy's party are stripped and prepped for their first session with the lads. For these soldiers, women's agency is a luxury that a post-collapse world cannot afford – along with cappuccinos and subtle analogy. A surprising number of new-right doomsayers are anticipating the fall of civilisation on that very basis. The logic of the manosphere teaches us that when the dung hits the Dyson, society will revert to a natural order where men are real men, women are grateful, and most problems can be solved by shooting at them. But the world only works like that in the movies. In fact, as we learned in the Covid years, an actual collective crisis doesn't call for tough guys who shoot first and ask questions never. The real heroes are doctors, nurses and first responders, and when things fall apart, people don't just start eating each other. They start feeding each other.
BBC News
3 days ago
- BBC News
'It lacked any sort of sell': Did Ballerina's title spell box-office disaster?
Action blockbuster From the World of John Wick: Ballerina has been one of the summer's big flops so far – and its muddled title could be to blame. Last week saw the release of From the World of John Wick: Ballerina – a spin-off of the Keanu Reeves gun-fu series – but you'd be forgiven for not noticing. The film had an underwhelming opening weekend at the US box office, making just $24m (£17.8m). That amount has since climbed to $41.8m (£31m), but it's still a disappointing figure for the film's studio, Lionsgate, considering the $90m (£66.8m) budget. Several factors may have been responsible. From the World of John Wick: Ballerina is a vehicle for Ana de Armas, and female-centred action films are a difficult sell. The release was pushed back to make time for reshoots: if it had come out closer to de Armas' explosive turn in the 2021 Bond film No Time To Die, as initially planned, cinema-goers might have been more intrigued. Additionally, last year's John Wick television spin-off, The Continental, lasted just three episodes before being cancelled – a sign of potential franchise fatigue, or that it's Reeves' central character that fans love in these films rather than the world he occupies. But there's another factor that can't be ignored: the title. "Ballerina doesn't scream action film," wrote film-industry news site Deadline in their analysis. "If you want to make a ton of money, maybe don't call your hardcore action movie Ballerina," echoed film commentator Mark Harris. Fans on Reddit have come to a similar conclusion: "Would your average moviegoer unplugged from the [media] hype know it's full of kick-ass fight scenes, from that word on a poster, on a cinema marquee?" asked one commenter, to plenty of upvotes. A glimpse at the marketing of the film suggests that Lionsgate anticipated this exact problem during its production. The film – about a pirouetting murder machine, directed by Underworld's Len Wiseman – was titled Ballerina when purchased as a spec script in 2017. But as shooting wrapped and the release date approached, the studio began to tinker. In the last year, the film's official title has changed from Ballerina to John Wick Presents: Ballerina to, finally, From the World of John Wick: Ballerina – an attempt to put Reeves' beloved hitman front and centre, despite him having only a small cameo in the film. But that still leaves the word "Ballerina" – it's now just "Ballerina" with too many other words bolted on. Tom Lashley of Gower Street Analytics, a firm that tracks and predicts box-office performance, believes that this might well have contributed to the tumbleweeds blowing in Ballerina screenings last weekend. As a title, it "lacked any sort of sell", he tells the BBC. "So the studio began tacking the name John Wick onto it in more and more aggressive ways, in an attempt to pull in more awareness. For me, it's never a good sign when things are getting renamed like that." There's precedent when it comes to Hollywood studios accidentally sabotaging their own releases by failing to land on titles with the right kind of appeal. Edge of Tomorrow (2014), starring Tom Cruise, was adapted from a Japanese novel entitled All You Need Is Kill, but as the producer of the time-twisting science-fiction thriller, Edwin Stoff, told The Hollywood Reporter at the film's premiere, "I think the word 'kill' in a title is very tricky in today's world." However, it was replaced by a title easily mistakable for a Lady Gaga track, revealing little of the film's "Groundhog Day during an alien invasion" concept. Even the film's fans were disgruntled, so when Edge of Tomorrow was released on DVD, the title was given less prominence than its tagline: "Live. Die. Repeat." More like this:• A combat epic that 'does what film does best'• Thunderbolts* is 'the greatest Marvel in years'• Disney's Snow White has a major 'identity crisis' On the other hand, swapping a bad title for a good one at the right moment can pay dividends. Pretty Woman was originally called Three Thousand, and then 3,000, because that's how much the sex worker is paid by her employer: at that point, the film was a dark skewering of "economic imbalance… it wasn't about sex work as much as an attack on out-of-control capitalism," screenwriter J F Lawton explained in 2020. But Disney executives thought that it sounded like a science-fiction film. When Lawton's screenplay was reconfigured as a fairy-tale romantic comedy, it was renamed Pretty Woman, a catchy title which referred to Roy Orbison's song, Oh, Pretty Woman, and which was used to describe Julia Roberts in countless articles about the film's breakout star. To Lashley, some of the best and most effective titles across film and TV are straightforward, distilling the story down to a single word – just as long as that word, unlike Ballerina, is the appropriate one. "[1990s sitcom] Friends was originally titled Across the Hall. It's hard to imagine it would have been as successful with that name," he says. The same might be said of the iconic Alien – or as it was originally titled, Star Beast, until screenwriter Dan O'Bannon realised that that name promised something more fantastical and Star Wars-esque than the lean, brutal horror Ridley Scott was creating. Ditto Casablanca – a film originally destined to hit cinemas as Everybody Come to Rick's – and Beetlejuice, a film that Warner Bros pushed director Tim Burton to release under the imagination-less title House Ghosts. Burton pushed back by pretending to be dead set on calling the film Scared Sheetless. Warner backtracked: maybe Beetlejuice wasn't such a bad name after all, they decided. Sometimes, it seems, the protagonist's distinctive name can be the answer, whether it's Annie Hall – changed from Anhedonia – or Amélie, Moana or Barbie. Take the example of a film with the vague working title Scorn. It was shot, edited and prepped for release, but its star kept getting its name wrong in interviews, referring to it by his character's name instead. Not a good sign. Executives at the studio financing the film decided to change the title now that buzz was building. That star was Keanu Reeves. The film was called, eventually, John Wick. -- If you liked this story sign up for The Essential List newsletter, a handpicked selection of features, videos and can't-miss news, delivered to your inbox twice a week. For more Culture stories from the BBC, follow us on Facebook, X, and Instagram.
Scottish Sun
4 days ago
- Scottish Sun
Over 1,000 FREE movies and TV shows added to popular Fire Stick app with hits including Death Becomes Her and The Purge
You can easily sign up for free to access their catalogue of 40,000 films and TV episodes DREAM STREAM Over 1,000 FREE movies and TV shows added to popular Fire Stick app with hits including Death Becomes Her and The Purge A POPULAR streaming app has added over 1,000 movies and TV shows to its catalogue - and they're all free. It even includes cult classics like Resident Evil, Death Becomes Her and The Purge. 2 The Tubi app can be easily added to your Fire Stick or mobile device Credit: Getty 2 The streamer is free and boasts a catalogue of over 40,000 movies and TV shows Credit: Alamy Tubi offers a free ad-supported video-on-demand library which is compatible with Fire Sticks and mobile devices. Since launching in the UK in July 2024, the streamer has expanded to include more than 40,000 movies and TV episodes. The latest additions to the platform's extensive material comes from its deals with major distributors like AMC Networks, Lionsgate, NBCUniversal, New Regency and Sony Pictures. It includes films like Baby Driver, Zombieland, The Purge, and Mama - as well as a range of TV shows. Ross Appleton, General Manager of Tubi's UK service, said: "Since launching nearly a year ago in the UK, Tubi has doubled its library size, cementing its position as offering the biggest collection of free movies and TV series in the UK. "With rising costs and fragmentation in streaming, Tubi will continue to offer viewers extensive content choice and a highly personalised viewing experience. All for free." Sam Harowitz, SVP of Content Acquisitions and Partnerships at the company said they had looked at performance data to help them choose which genres to focus on. He said: "With these latest studio library deals we have further invested in robust existing partnerships and doubled down on providing fandoms with a deep catalogue of movies and TV series across top performing genres such as horror, action, thrillers, and comedies." In addition to its licensed content, the streaming service has also produced more than 300 exclusive originals. This includes the adult animation The Freak Brothers which was met with positive reviews. Roku reveals brand new streaming stick TV device packed with free channels With a star-studded cast including Woody Harrelson, John Goodman and Pete Davidson, the show followed three Freak brothers and their cat as they adjust to life in 2020 after a magical strain of marijuana put them to sleep for 50 years. If you're looking for a more family-friendly show, viewers can enjoy the popular animated series RoboForce which boasts a 9.2 / 10 star rating on IMDB. The streamer has also debuted an extensive list of original documentaries for those looking for a more hard-hitting TV show. Housing the largest collection of on-demand content, with 275,000 movies and TV episodes, the popular streamer has amassed a fanbase of 97 million monthly active users. With a range of foreign language films, and availability in countries including Ecuador, Mexico, Canada and Australia, it's no wonder the platform has amassed such a global viewership. The service was founded in 2014 as a revolutionary stand out in the streaming sector. Instead of a subscription-based model, the company relies on ads to provide a free service to its millions of users. Platforms like this have become increasingly popular as the cost of living has gone up and households have cut down on the number of services they pay for. All you need to do to access the seemingly endless free content is sign up to an account online. You can then download the app across a range of compatible devices - including Fire Sticks and mobile phones - to make the most of their content, wherever you are. The streamer is also running a competition for indie filmmakers that could launch their career. In a collaboration with Kickstarter, their FilmStream Collective gives filmmakers the opportunity to access funding with guaranteed distribution on the platform.
