Not On Streaming? Not A Problem! Browse Shout!'s Unstreamable Collection

As the streaming wars rage on, a century of entertainment has been rendered impossible to find – if not lost to time completely. This unfortunate reality creates a newfound appreciation for the concept of ownership. Movies are meant to be seen and enjoyed as many times as you'd like, not locked behind a rental paywall!

Making your favorite films and shows accessible was our primary motivation behind the Unstreamable Collection which highlights a glorious selection of films and TV shows you can’t find streaming free anywhere else.***

Read on to find some recommendations from your friendly neighborhood Shout! team.

***As of the time of our research. Though streaming and licensing deals change hands quickly, it emphasizes the importance of physical ownership!

Nothing But Trouble - Joey G.

All great art – especially that which is ahead of its time – is misunderstood when it’s first unleashed on audiences.

Such was the case with Nothing But Trouble.

Almost unclassifiable in what it’s attempting to be (too dark and strange to be straight comedy, too funny and weird to be straight horror), Nothing But Trouble is closer to outsider art with a hefty Hollywood budget. (No, really: Look for the Howard Finister-style angels at the entrance of the Valkenheiser property.)

Audiences didn’t get it at the time, with the film earning just $8M back of its $45M budget. But time can soften our perception, and the film has settled into ‘cult’ status, finally finding its audience of weirdos.

After all, who else could enjoy a film that features a centenarian Dan Akroyd removing his nose, a murderous rollercoaster called “Mr. Bonestripper”, obese mutant twins named Bobo and Lil’ Debbull, and a cameo by pioneer hip-hop group Digital Underground than only the weirdest of weirdos?

Slither - AJ M.

Long before he was Hollywood’s go-to superhero whisperer, James Gunn was a young filmmaker with B-movie dreams. Cutting his teeth at Troma Entertainment where he penned the screenplay for Tromeo and Juliet, Gunn’s natural bias for genre shows in every one of his later projects, regardless of budget or scale. You can find his fingerprints on some of the biggest blockbusters of the last 25 years but nothing can match the gruesome fun of his 2006 directorial debut.

Slither examines a small town in South Carolina where two average citizens (Nathan Fillion and Elizabeth Banks) must fight to survive when a mysterious alien parasite turns their fellow townspeople into ravenous, bloodthirsty mutants. Boasting a talented supporting cast including Jenna Fischer and Michael Rooker, this demented splatter flick became an instant cult classic and is still remembered as an exciting debut from a hot young prospect whose work continues to pay homage to the lowbrow cinematic movements that influenced it. And a special note to those with weak stomachs - this ain’t your daddy’s zombie movie!

Halloween H20: Twenty Years Later - Daisy A. 

Halloween H20: Twenty Years Later revives the acclaimed slasher franchise, sharing a mixture of thrill and nostalgia. Released in 1998, this installment is a direct sequel to Halloween (1978) and Halloween II (1981). This chapter overlooks the complicated narrative that was introduced in the sequels, veering towards a different storyline. Jamie Lee Curtis once again takes on her iconic role of Laurie Strode, who’s now living under the pseudonym “Keri Tate” with the intent to avoid the homicidaly Michael Myers, who is now her brother. Curtis’s portrayal is commendable, as she relives her trauma and faces dreadful anxiety once more. The supporting cast, which includes Josh Hartnett, Michelle Williams, and LL Cool J, contribute to the film’s dynamic plot. Myers reemerges as a deadly yet familiar threat to Laurie, who’s taken on a new job at a private school as headmistress. The change of setting refreshes the classic slasher's formula, renewing the sense of danger as Laurie and her students fall victim to Michael’s murderous aggression. Halloween H20 is one of the more successful sequels within the franchise, with considerable commercial and box office success. The film reaches its peak with a dramatic confrontation between Laurie and Michael once more, bringing back the suspense and tension of the original, making it a notable addition to the series.

Ravenous - Ben S.

The production is in shambles. No usable footage. The original director is out. The studio offers you the gig, but here’s the hitch: you’ve only got 10 days to prep before diving back into the full shooting schedule. Do you phone in some hack-work for the paycheck, or do you deliver the most scathing takedown of American exceptionalism and Manifest Destiny in the guise of a revisionist Western? If you’re mastermind Antonia Bird, the latter, and with enough style to spare to pull off the moodiest of all possible western sub-genres: the snowy western. Did I mention it’s also a cannibal folk-horror stoner comedy? With Damon Albarn from Blur and Michael Nyman composing some of the best music of the 20^thcentury for your score and quite simply the best, most breathtaking fall-guy stunt ever set to film. A movie of so many multitudes, Ravenous might just be too big for streaming to contain.

In The Mouth Of Madness - AJ M.

Thirty years on, John Carpenter’s Apocalypse Trilogy still stands apart from the rest of his filmography. Sure, he’s no stranger to dark and lurid subject matter, but all three movies are incredibly bleak and follow doomed protagonists that are incapable of fending off the grim fate that awaits them. While The Thing has become so seminal it overshadows the other two in his spiritual triptych, his most imaginative entry is In The Mouth Of Madness, a mind-bending horror trip starring Sam Neill in the lead role.

Following a claims investigator (Neill) on a revealing journey to examine the disappearance of a famous author, the film forces him to question his own reality when circumstances turn stranger than fiction. Carpenter sets an eerie stage for his H.P. Lovecraft homage by using the world of literature to plunge us into this strange, liminal hellscape where an ancient evil lies in wait. Getting the most from its team of practical effects artists, this 1994 gem revels in its masterclass of prosthetics, including an 18-foot wall of grotesque abominations that took an entire team of puppeteers to operate.

Halloween II - Joey G.

Though begrudgingly written by John Carpenter at the urging of financier Moustapha Akkad, and lambasted by fans for the shoehorned brother-sister storyline, in terms of horror sequels, Halloween II is better than most. In fact, it totally rules.

Under the ace direction of Rick Rosenthal and featuring a more sinister take on the original score thanks to Alan Howarth (in conjunction with Carpenter), Halloween II carves a much scarier, meaner path than its predecessor.

Michael has ditched cruising around sunny Haddonfield in a station wagon; here, he’s lurking around jet-black alleyways, shadowy parking lots, and labyrinthine hospital basements. He’s traded in the kitchen knife for scalpels, syringes, and boiling hot water. And he’s done playing cat-and-mouse with poor Laurie Strode; he’s utterly relentless in his quest to get rid of her once and for all.