We searched through the offerings of all of the above to bring you the Best Movies On Demand, though no one service offers them all. We limited it to new VOD movies available to rent for less than $10 (not buy) on Google Play Store. Now you need to buy Google Code Online at USCardCode and then enjoy all of those.

Colossal

Colossal is simply a much darker, more serious-minded film than one could possibly go in expecting, judging from the marketing materials and rather misleading trailers. It blooms into a story about sacrifice and martyrdom, while simultaneously featuring an array of largely unlikable characters who are not “good people” in any measurable way

Lemon

80-minute indictment of and elegy for white man-child protagonists. You know this movie. You’ve seen myriad versions of it staged over, say, the last two decades of pop culture

an outsider to the self-validating dynamics of the fraternity of white male screw-ups. She’s thus better equipped to provide fresh commentary on that fraternity than any random white male might be. Even better, she’s more talented, too. Her film is an exquisitely wrought portrait of white guy ineptitude disguised as superiority and acumen, though this assumes you equate “exquisite” with wallowing in abject human misery for an hour and a half. In her feature debut, Bravo demonstrates a raw skill behind the lens suggesting a higher ceiling than most of her peers, though her film is no less awkward than anything they’ve made, either. Lemon is a tragicomic ballad of chagrin and stunted masculinity, and yes, it is at times a literal shitshow, a comedy of bodily functions to complement its endless parade of embarrassments. But the sight of Bravo’s co-writer and leading man Brett Gelman fishing a cell phone out of a used toilet doesn’t at all undermine the sophistication and style of her filmmaking

Logan

Logan’s ambition is to present itself with a weight of gravitas that isn’t entirely earned, considering the history of the character. It will doubtlessly frustrate some of the Everyman cinema-goers who perceive its middle chapters as slow, or who criticize the 135-minute run-time

It’s not a film calculated to be a people-pleaser, but it is an appropriately intense end to a character defined by the tenacity and ferocity of a wolverine

Spider-Man: Homecoming

Previous Spider-Men would simply have suited up effortlessly and gone out to fight crime. This humanistic Peter Parker fumbles and yanks and tugs his suit into position, just as surely as he awkwardly realizes there’s nothing appropriate to swing on as he’s trying to move through a suburban area. It’s not hard to imagine this version of the character resonating with an under-21 age demographic in a much more profound way than any of his predecessors. It’s equally impressive that such a self-assured film would come from a relatively unproven director in Jon Watts, whose 2015 indie thriller Cop Car was received warmly enough, but whose only other feature was the patently absurd 2014 horror movie Clown