Top 10 Movies To Watch This Week on Netflix | June 1-7, 2025

So you’re stuck in scrolling purgatory again, huh? Endlessly thumbing through Netflix, hoping something jumps out. We’ve been there. That’s why we pulled together the Top 10 Movies you would actually want to watch this week—no fluff, no filler. Whether you’re into thrillers, rom-coms, or indie gems, there’s something worth hitting play on. Here’s your movie cheat sheet for June 1-7, 2025—because your time is too valuable for another “meh” movie night.

Evelyn (2018)

This one hits close to the bone. Evelyn is a documentary, but it plays more like a grief pilgrimage. Director Orlando von Einsiedel turns the camera on his own family as they try to process the suicide of his brother, Evelyn, over a decade after it happened. Their way of facing it? Long walks through the British countryside, talking about the stuff they never could before.

It’s raw and honest in a way most films about loss never are. No big speeches, no tidy breakthroughs—just siblings, parents, and old wounds stretching across miles of quiet trails. You can feel how hard it is for them to even say his name, which makes every moment of honesty land that much harder.

If you’ve ever lost someone and carried it silently, this one’s going to hit. It’s sad, yeah—but it’s also strangely hopeful. Like watching a family learn how to hold the weight together, finally.

The Rat Catcher (2023)

This one’s tiny, weird, and exactly what you’d expect from Wes Anderson adapting Roald Dahl. The Rat Catcher is a short film—less than 20 minutes—but it’s packed with all the signature Anderson flair: symmetry, whimsy, deadpan delivery, and at least one unnervingly eccentric character.

Ralph Fiennes plays a rat exterminator who’s just a little too into his work, sharing his methods like he’s auditioning for a TED Talk on pest control. The whole thing is shot like a theatrical puppet show, narrated straight into the camera with that brittle, clipped Britishness that somehow makes everything creepier.

It’s not a big emotional swing. It’s just strange and tightly wound and weirdly hypnotic. If you’re into Anderson’s world and want a quick, unsettling little treat—this is a sharp, nasty bite-sized one.

Maria (2024)

Angelina Jolie goes full tragic icon in Maria, playing opera legend Maria Callas in her final, isolated years in 1970s Paris. It’s less “cradle-to-grave biopic” and more “quiet unraveling.” No big stages, no adoring crowds—just a woman with a voice that shook the world, wondering who she is without it.

Directed by Pablo Larraín (who brought the same mournful elegance to Spencer and Jackie), the film moves slowly, almost like an aria stretched over two hours. Jolie is magnetic—wounded, proud, brittle in some scenes, devastating in others. The film doesn’t explain her so much as sit beside her.

If you’re looking for emotional fireworks, this isn’t that. It’s softer, sadder. Less about fame, more about the silence that follows it. And the cost of a life spent being watched instead of held.

It’s What’s Inside (2024)

Imagine Coherence got drunk and crashed your rehearsal dinner. That’s the vibe of It’s What’s Inside—a strange, slippery little genre-blender that kicks off with a pre-wedding hangout and spirals into body-swapping, secrets, and major identity crises.

Someone shows up with a mysterious suitcase (of course), and then reality kind of…fractures. People aren’t who they were five minutes ago, everyone’s hiding something, and it’s clear this isn’t your average awkward friend reunion. It’s lo-fi sci-fi with sharp edges and some real emotional stakes tucked into the chaos.

It’s smart, twisty, and just the right amount of messy. If you like your thrillers to feel like puzzle boxes—or if you’re the one who always wants to “talk about the ending” afterward—this one’s a fun, brain-bending ride.

Joy (2024)

Joy tells the true story behind one of the biggest breakthroughs in modern medicine—IVF—but it’s not some dry, science-y biopic. It’s intimate and warm, focused on the people who had to fight like hell to make it happen when the whole world was telling them they were wrong.

At the heart of it is Jean Purdy, a nurse who was instrumental in developing the first “test tube baby,” and who history mostly forgot. The film (written by Jack Thorne, who knows how to make heartache sing) gives her story the spotlight, alongside Robert Edwards and Patrick Steptoe, the team behind the science.

It’s grounded, emotional, and rooted in the idea that progress is never easy—or popular—especially when you’re a woman in the room. If you liked Hidden Figures or The Imitation Game but wished they’d dial up the feeling a little more, Joy delivers. Quietly powerful, with real soul.

The Wonderful Story of Henry Sugar (2023)

Wes Anderson goes full Wes Anderson in this delightfully oddball short film based on Roald Dahl’s story, and yeah, it’s as charming and weirdly profound as it sounds. Benedict Cumberbatch plays Henry Sugar—a rich guy who learns to see without using his eyes (no, really) and uses his new skill to cheat at gambling. At first, it’s just fun and games. But then things start getting… oddly spiritual.

This is peak Anderson: theatrical sets, deadpan delivery, chapter headings, and characters speaking directly to the camera like it’s a storybook (because it is). But underneath the pastel symmetry and polite absurdity, it’s actually about something: how power and privilege don’t mean much if you’re not doing something real with them.

It’s a short watch—about 40 minutes—but it packs a surprising emotional punch. It’s like Dahl wrote a parable and Anderson painted it with a thousand little brushes. If you’ve ever wished life came with a narrator and perfect lighting, this one’s for you.

I Don’t Feel at Home in This World Anymore (2017)

If you’ve ever fantasized about getting revenge on the world for being, well, the world, this one gets it. Melanie Lynskey plays Ruth, a depressed nursing assistant who’s just completely over it. Her house gets robbed. The cops don’t care. And something inside her finally just…snaps.

So she teams up with her neighbor (Elijah Wood, delightfully unhinged) and decides to get her stuff back. What starts as a petty vigilante mission turns into a full-on mess of crime, violence, and very bad decisions. It’s funny, bleak, weirdly sweet, and kind of cathartic.

This isn’t a sleek action flick—it’s awkward and tense and deeply human. More “real people losing it a little” than superhero justice. If you liked Blue Ruin or You’re Next, this is that same kind of off-kilter, indie mayhem with heart. And a hammer.

Uncorked (2020)

A Black kid from Memphis dreams of becoming a master sommelier, but his dad wants him to take over the family BBQ joint. That’s the setup in Uncorked, and it’s so much more than a food movie. It’s about identity, legacy, and how hard it is to tell your family you want something different.

Mamoudou Athie is magnetic—quiet, driven, full of internal heat. And Courtney B. Vance and Niecy Nash as his parents are the kind of casting that just makes everything feel grounded and real. There’s wine tasting in Paris, grill smoke in Tennessee, and a whole lot of tension between old dreams and new ones.

This isn’t a flashy rise-to-the-top montage movie. It’s slower, more thoughtful. A coming-of-age story that tastes like love, frustration, and ribs. If you liked Chef, The Farewell, or anything that makes you want to call your mom after—it’s a good pour.

The Six Triple Eight (2024)

Tyler Perry steps way outside his usual lane with The Six Triple Eight, and the result is a long-overdue spotlight on a forgotten piece of WWII history. The film tells the true story of the 6888th Central Postal Directory Battalion—the only all-Black, all-female battalion in the U.S. military—sent overseas to organize a mail backlog that was crippling troop morale.

Kerry Washington leads a powerhouse cast (including Oprah, Susan Sarandon, and Ebony Obsidian), and the story hits all the right notes: perseverance, purpose, and quiet heroism. It’s not a war movie about guns. It’s about letters—millions of them—and the women who refused to be overlooked, even while the world around them did exactly that.

It’s inspirational, yes, but also grounded in reality. These women weren’t saints. They were tired, angry, brilliant, and brave. If Hidden Figures or A League of Their Own are in your comfort rotation, add this to the list.

Wicked Little Letters (2023)

Olivia Colman and Jessie Buckley face off in this totally bonkers British mystery-comedy that actually is based on a true story—which somehow makes it even more fun. Set in a sleepy seaside town in the 1920s, the drama kicks off when residents start receiving obscene, anonymous letters full of foul language and scandalous accusations. And of course, someone’s got to take the fall.

Colman plays a prim, deeply repressed housewife. Buckley is the loud, loose neighbor everyone’s already side-eyeing. And the whole town is just bubbling over with judgment, secrets, and hilariously bad behavior. It’s part cozy mystery, part satirical roast of small-town gossip and the nonsense that happens when women don’t fit into polite little boxes.

The script is sharp, the performances are electric, and there are just enough sincere moments to make it more than a punchline. It’s fast, filthy, and weirdly heartwarming. Basically, your next favorite underrated gem.

Wrap Up

So yeah—this week’s list is a little bit messy, a little emotional, and full of movies that actually do something. Whether it’s a grief walk through the countryside (Evelyn), body-swapping chaos at a wedding (It’s What’s Inside), or Olivia Colman raging against the patriarchy via filthy letters (Wicked Little Letters), these films aren’t afraid to get weird, personal, or both.

There’s big emotion here—grief, ambition, regret, reinvention. But there’s also absurdity, beauty, and a lot of heart. You’ve got Wes Anderson at his most storybook, Jolie going full Callas, and a forgotten battalion of Black women rewriting history with nothing but mail and grit. From intimate indies to surreal short films, every title here earns your attention without wasting your time.

So whatever mood you’re in—mourning, plotting revenge, questioning your life path over a glass of Pinot—there’s something here that’ll hit just right. Queue it up, clear your evening, and when one of these messes you up (because at least one will), come back and tell us. We’re always down to spiral with you.