The last few months have left fans of World War II-era movies and television spoiled for choice. Toward the end of 2025, the movie Nuremberg emerged as a sleeper hit at the box office, grossing $70 million at the worldwide box office against a reported budget of $40 million. What truly turned Nuremberg into a hit is its performance in the post-theatrical phase, when it emerged as a favorite on the PVOD and streaming markets. Now, something similar is happening with another WWII movie, but this one wasn’t as successful at the box office. It is, however, finding an audience on PVOD, and has now spent more than 20 days on the domestic iTunes chart.
The movie in question was directed by Rod Lurie and headlined by the sons of two legends, Scott Eastwood and Colin Hanks. In fact, Hanks’ illustrious dad, Tom Hanks, has long been a WWII aficionado. He famously starred in the critically acclaimed blockbuster Saving Private Ryan, and then produced a trio of WWII shows — Band of Brothers, The Pacific, and Masters of the Air. In the last couple of months, he has hosted an epic 20-episode documentary series titled World War II with Tom Hanks, which has found tremendous success on both the History Channel and on the PVOD market.
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 comical, 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 critical 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 simple 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 novel kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we utilize 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 forthright in a way that most cinema never dares to be.
Two WWII Movies Are Gaining Steam at Home
Joining the series on the domestic iTunes and Amazon charts is Lucky Strike. The movie stars Eastwood as a soldier trapped behind enemy lines, armed with just a radio and a pack of Lucky Strike cigarettes. The film holds a 60% score on the aggregator website Rotten Tomatoes, where the consensus reads, “Presenting a straightforward tale of survival with solid suspense, Lucky Strike is a respectable tribute to wartime heroism that otherwise lacks the spark to stand out amid the crowded WWII genre.” According to FlixPatrol, Lucky Strike isn’t the only novel WWII movie gaining steam on home video. Only a few weeks ago, the critically acclaimed Pressure grossed more than $15 million at the domestic box office and set itself up for success in its post-release phase. It’s now among the most-watched films on Peacock. Stay tuned to Collider for more updates.
