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

So you’re stuck in scrolling purgatory again, huh? Endlessly thumbing through Prime Video, 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.

Reality Winner (2021)

You don’t really watch this one so much as absorb it—and then maybe sit in quiet rage for a while. Reality Winner isn’t a dramatization, it’s a documentary, and a pretty devastating one at that. It follows the story of a 25-year-old NSA contractor who leaked proof that Russia interfered in the 2016 U.S. election. Not for clout. Not for cash. Just because she thought Americans deserved to know.

Directed with sharp restraint by Sonia Kennebeck, the film leans heavily on real interviews and chilling government audio. No reenactments. No fluff. Just the facts—and the fallout. What hits hardest is how absurdly young Reality is, how normal, and how the full force of the federal government just crushes her.

It’s a tough, necessary watch. If you care about whistleblowers, transparency, or how power handles truth-tellers, this one belongs on your list. It’ll piss you off, and it should.

The Apprentice (2024)

Yep, that Apprentice. This one’s going to start fights at dinner tables—and that’s kind of the point. Directed by Ali Abbasi (Holy Spider), The Apprentice tracks young Donald Trump in 1970s New York, back when he was just a slick real estate kid with bad ideas and a worse mentor: Roy Cohn.

Sebastian Stan plays Trump, and honestly? He’s disturbingly good. Jeremy Strong as Cohn is exactly the kind of charisma-laced poison you’d expect. The film doesn’t do caricature—it plays it real, which somehow makes it feel even more surreal. Watching Trump get shaped by corruption, ego, and the dark art of media manipulation is like watching a supervillain origin story in slow motion.

It premiered at Cannes and caused immediate waves. Whether you love, hate, or love to hate the subject, this one doesn’t pull punches. It’s less political hit job and more psychological autopsy. You won’t leave feeling neutral.

Blink Twice (2024)

Zoë Kravitz steps behind the camera for the first time, and damn, she came out swinging. Blink Twice starts like a glossy vacation fantasy—Channing Tatum is a tech billionaire hosting a bunch of hot, slightly lost people on his private island—but it doesn’t take long before things get weird. Like, really weird.

Naomi Ackie plays a cocktail waitress who starts to realize the whole setup might be more sinister than sexy. The vibes go from The White Lotus to Get Out real fast, with a heavy dose of sleek paranoia. Kravitz directs it like she’s got something to prove—which she clearly does not, because the film oozes confidence. It’s sharp, stylish, and creepy in a very modern, very “I don’t trust billionaires” kind of way.

This isn’t just a thriller. It’s a mood. If you like your suspense with a side of glam and a gut punch of “WTF did I just watch?”—don’t miss this one.

The Substance (2024)

If Black Swan, American Psycho, and a bottle of retinol serum had a twisted lovechild, it would be The Substance. Demi Moore absolutely devours the screen in this gonzo body horror satire about aging, beauty, and the literal cost of staying relevant in Hollywood.

She plays an aging star who takes an experimental drug designed to create a younger, better version of yourself—except, surprise, that version has ideas of its own. Margaret Qualley is that younger self, and watching the two of them bounce between vanity, rage, and existential dread is wild in the best way. Director Coralie Fargeat (Revenge) leans all the way into the grotesque, and the result is messy, bold, feminist horror that’s impossible to look away from.

Won Best Screenplay at Cannes and lit film Twitter on fire. It’s not subtle, but it is unforgettable. Also: there will be blood. And sequins. Lots of sequins.

Holland (2025)

There’s something quietly creepy about Holland, and it’s not just the “perfect little town with secrets” setup. Directed by Mimi Cave (Fresh), it stars Nicole Kidman as a woman whose ideal suburban life starts to unravel after a local tragedy reveals a much darker undercurrent to her seemingly flawless community.

It’s dreamy and unsettling at the same time. The camera floats through pristine neighborhoods while something ugly hums underneath. Matthew Macfadyen and Gael García Bernal round out a cast that knows how to play restraint just before the dam breaks. This isn’t horror, exactly—but it’s got that something’s not right here tension that makes you squirm.

If you like slow-burn thrillers with strong performances and a creeping sense of dread, this is one to queue up. It’s about the lies we live in, and what happens when the truth finally shows its face.

I’m Still Here (2010)

Remember when Joaquin Phoenix said he was quitting acting to become a rapper? Grew a scraggly beard, wore sunglasses indoors, acted like he forgot how to human? Yeah, I’m Still Here is that era, captured in glorious, chaotic, meta-weirdness.

It’s a mockumentary—or maybe a performance art piece—or maybe both? Directed by Casey Affleck, the film follows Joaquin as he “leaves Hollywood” and spirals into a cringe-fueled mess of drug use, ego, and incoherent freestyling. At the time, people thought it was real. Spoiler: it wasn’t. But that confusion is kind of the point.

This is celebrity culture eaten alive by its own reflection. It’s uncomfortable, often hilarious, sometimes bleak, and way smarter than it looks on the surface. Not for everyone, but if you’re into media satire with serious commitment to the bit, this one’s a trip.

Oblivion (2013)

Tom Cruise on a ravaged Earth, fixing drones and sipping coffee in a glass sky tower, is exactly the kind of sleek sci-fi energy Oblivion brings. It’s not reinventing the genre, but it is giving it a damn good polish. The plot? Earth’s been nuked after an alien war, but—twist—you can’t trust the version of history Cruise’s character has been told.

The film is a slow-build mystery wrapped in high-gloss visuals, directed by Joseph Kosinski (Tron: Legacy, Top Gun: Maverick). Think Moon meets The Matrix, with a side of haunting Icelandic landscapes and synth-heavy soundscapes. Morgan Freeman shows up to drop cryptic truths, and the whole thing starts to spiral into identity crises, clone conspiracies, and who’s-really-in-charge tension.

It’s the kind of sci-fi that looks incredible and scratches that dystopian itch without getting too heady. Come for the aesthetics, stay for the unraveling.

How It Ends (2021)

What would you do if you knew the world was ending tomorrow? In How It Ends, Zoe Lister-Jones walks through a pastel-colored Los Angeles answering that exact question—with her younger self (played by Cailee Spaeny) tagging along like an emotional support hallucination. And yes, it’s a comedy. A weird, charming, apocalypse-meets-self-help comedy.

The film was made during COVID, and it shows—in a good way. Empty streets, surreal moments, and that lingering sense of isolation. Cameos from Olivia Wilde, Fred Armisen, Nick Kroll, and a bunch of other very LA weirdos pop in along the way, all facing the end in their own quirky, deeply human ways.

It’s not about explosions or chaos. It’s about making peace with yourself before the clock runs out. Sweet, self-aware, and totally unique. Kind of like Inside Out, if it were made by indie kids on a tight budget and a tight deadline.

Electrick Children (2012)

This one’s a hidden gem. Julia Garner plays a 15-year-old girl from a strict Mormon community who believes she’s become pregnant after secretly listening to a rock cassette tape. No joke. Then she runs off to Vegas to find the singer she believes is the father of her immaculate conception.

What sounds like it should be a joke actually becomes something oddly beautiful. It’s a coming-of-age film wrapped in religious trauma, innocence, and neon desert weirdness. Julia Garner is incredible here—soft, curious, and fearless all at once—and Rory Culkin adds his signature oddball charm.

If you like movies that float somewhere between myth and metaphor, between Virgin Suicides and Wendy and Lucy, this one hits. Strange, dreamy, and way more emotional than you expect it to be.

I Am Here (2021)

Ella Blumenthal is 98 years old, full of fire, and has lived through more than most of us could even imagine. I Am Here isn’t just a Holocaust documentary—it’s a tribute to survival, spirit, and storytelling. Born in Poland, Ella lived through the Warsaw Ghetto, survived multiple concentration camps, and eventually rebuilt her life in South Africa. Now, she tells her story with warmth, grace, and just the right amount of sass.

What sets this film apart is how it’s told. It’s not all archival footage and voiceovers—director Jordy Sank blends live interviews with beautifully animated sequences that bring Ella’s memories to life. It makes her past feel personal, vivid, and heartbreakingly close. But what really stays with you is Ella herself. She’s sharp, funny, fiercely optimistic, and never once comes off as defined by her trauma.

This is a story about remembering, yes—but more than that, it’s about choosing joy, even when the world gives you every reason not to. If you want a film that honors history but also celebrates resilience and humanity, I Am Here is something special.

Wrap Up

So yeah—this lineup? It’s kind of all over the place. But in the best possible way. You’ve got whistleblowers getting steamrolled (Reality Winner), billionaires playing god (Blink Twice), Hollywood’s obsession with youth gone full body horror (The Substance), and one very charming Holocaust survivor who might just be the most inspiring person you’ll “meet” this week (I Am Here).

These aren’t just “press play and forget” kind of films. They stick. They spark something. A few (The Apprentice, I’m Still Here) might make you uncomfortable, others (Electrick Children, How It Ends) sneak up on you with softness and strangeness. And a couple (Oblivion, Holland) just look so damn good you’ll want to live in them—until you realize you probably wouldn’t survive a week.

Point is, there’s no filler here. Whether you want to be rattled, entertained, moved, or mentally hijacked—something on this list will get you there. So queue up. Clear your evening. And let one of these take you somewhere new.