When you think of the major movie studios, you probably think of Warner Bros, Disney, Universal, Paramount, and Sony. The big five. The ones that have been shaping the movie landscape for decades, dropping blockbusters and prestige movies like clockwork. But lately, I’ve been watching Apple. And quietly, steadily, they’re putting together a lineup that could turn them into a real contender. Not just in streaming, but in theaters too.
Their library is still small compared to others, but Apple is already punching above its weight.
Not Just Awards: Apple is Building a Real Movie Identity
Apple became the first streamer to take home the top Oscar, beating Netflix to the punch, with CODA. This was despite years of marketing and millions of dollars spent by Netflix. That alone was enough to turn some heads. Then came Killers of the Flower Moon, a sprawling Martin Scorsese-directed epic that played in theaters and held its own critically. That’s not a fluke.
What’s impressive is how Apple is building a catalog that actually feels like it has some direction. There’s a sense of identity forming.
Napoleon was divisive, but it was still a Ridley Scott war epic with theatrical ambition and big scale execution. Spirited was a Christmas musical with big stars and had actual rewatch value. Even Ghosted and Wolfs, which may not have blown people away, still feel like pieces of a studio trying to build a consistent brand. These are the kind of movies you’d expect from a mid-2000s studio that knew exactly how to cast and market.
And then there’s The Greatest Beer Run Ever, which flew under the radar but was a solid, if not flashy, story with heart. These are not filler titles. They’re consistent. They’re varied. And they suggest Apply is paying attention to tone, talent, and quality more than quantity.
Looking at the movies together, you can see the calculated, curated choices. Some are showy, others more grounded, but almost all of them reflect a clear goal. Someone is steering the ship.
The F1 Movie Could Be the Turning Point
Now we’ve got Apple’s biggest test yet: the Brad Pitt F1 racing movie, directed by Joseph Kosinski (yes, the guy who brought back the crowd to theaters with Top Gun: Maverick). This is not just another straight-to-streaming or limited release. It’s Apple’s biggest swing yet. Not just a big name and high concept, but a full theatrical rollout with IMAX, Dolby, and everything you expect from a major studio release.
That matters. Because while Apple TV+ is known for its polished comedy series and strong drama slate, this is something different. This is Apple saying they want their stuff in theaters. They want spectacle. They want a presence.
Even if F1 doesn’t dominate the box office (and it’s a crowded summer so who knows), it could still be a success in the ways that count. If it looks great on a big screen, gets solid reviews (which it already seems like it is), and makes people talk, it’s a statement. The kind that moves Apple from “streaming service that made CODA” to “studio you can count on.”
Apple Doesn’t Need Volume. Just Consistency.
Apple’s output is small, but that’s starting to feel like a strength. Every release feels like it went through a filter, not just greenlit to fill space. That level of control means even when something doesn’t totally land, it still feels like a swing.
That kind of consistency matters more than people think. Not every studio gets it right, but when a brand shows taste, it earns trust. And right now, Apple is quietly earning it. A sense that someone is curating, not just producing. Even when a movie misses the mark, it usually has something interesting going on. A creative swing, a casting choice, a theme that matters. That’s more than you can say for a lot of the studio filler that still clogs up release calendars from bigger names.
If you keep doing this, building out a library of memorable, premium-feeling content, it’s not hard to imagine them standing shoulder to shoulder with traditional giants. Maybe not in scale, but definitely in respect.
Theatrical Matters. And Apple Gets It.
I’ll always prefer seeing movies in theaters. That communal feeling, the sound, the scale, nothing beats it. Streaming is convenient, but some stories deserve more. And while Apple TV+ is clearly a streaming-first platform, they’ve been doing more and more to show they care about the theatrical experience as well (as opposed to other streamers).
F1 is about to show up on giant screens with premium sound and visual fidelity. And honestly, that’s exciting.
It shows they’re not just throwing stuff onto a service and moving on. They’re treating some of these releases like events. Even if not every movie can justify a theatrical run, the fact that Apple is doing it at all, and doing it well, sets them apart from a lot of other streaming-born players.
They’re Not There Yet. But the Path is Clear.
Apple isn’t a top-tier movie studio. Not yet. They don’t have the legacy. They don’t have the library. And they definitely don’t have the volume. And let’s not forget, Apple is still a hardware company first. Movies are not their core business, which makes what they’ve pulled off so far even more impressive.
But they have something arguably more important. Momentum.
You can tell the strategy is long-term. Invest in talent. Develop prestige and variety. Build credibility. And above all, make people trust the Apple Studios brand. The same way people trust Pixar for animation or A24 for indie weirdness. That trust comes from consistency. And that’s what Apple is quietly delivering.
If F1 lands, or even just makes a mark, it will prove that Apple Studios isn’t just a streaming label. It’s a serious player with real potential to challenge the big five.
And whether or not they want that spotlight, they’re getting closer to it with every release.
That Nerd Zach 