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

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

Arrival (2016)

If you haven’t seen Arrival yet—or it’s been a minute—go ahead and clear your evening. This one hits different, especially if you’ve ever lost someone or wondered if pain is still worth it, knowing what’s coming.

Amy Adams plays a linguist brought in to communicate with aliens who just casually parked their ships around the world. But the real story isn’t about UFOs—it’s about time, grief, language, and whether you’d make the same choices if you knew how it all ends. It’s sci-fi with soul, quiet and emotional and kinda devastating.

Director Denis Villeneuve (before he did Dune) keeps it haunting and cerebral, with a score that practically hums with tension. It’s less “blow up the mothership” and more “sit with this feeling until your heart breaks.” If you like your science fiction thoughtful, emotional, and just a little trippy, Arrival is essential.

Minari (2020)

Minari is one of those small, perfect films that sneaks up on you. It’s about a Korean-American family starting over in 1980s Arkansas, chasing that ever-elusive American Dream with a trailer home and a patch of farmland. But really, it’s about family—how complicated and beautiful and frustrating that can be.

Steven Yeun is incredible as the dad who wants to build something lasting, even if it means pulling his family to the edge. And Youn Yuh-jung as the chaotic, foul-mouthed grandma? Instant legend. It’s funny, tender, occasionally heartbreaking, and full of quiet moments that say more than any big speech could.

It’s not flashy, and that’s the point. It feels real. Honest. If you’re into films like The Farewell or Boyhood, where the drama is in the small things—burnt crops, whispered arguments, a kid watching everything and not saying much—Minari will absolutely wreck you (in the best way).

Apartment 7A (2024)

Apartment 7A hasn’t even been out that long, but horror fans are already whispering about it like it’s cursed. It’s a prequel (kind of) to Rosemary’s Baby, set in the same creepy building, and it nails that old-school psychological dread.

Julia Garner plays an aspiring dancer who moves into—yep—Apartment 7A, and from the jump, something feels… wrong. The neighbors are weird. The vibes are weird. Her body starts changing in ways she can’t explain. It’s one of those slow-burns where you’re constantly asking, “Am I just being paranoid?” until it goes fully off the rails in the final act.

It’s shot with this smoky, ‘60s New York haze that makes every hallway look haunted. If you’re into horror that’s more unnerving than gory—more Hereditary than Saw—this one’s worth a watch. Just maybe not right before bed.

Interstellar (2014)

Interstellar is big. Like, emotionally, conceptually, musically—big. It’s the kind of movie that tries to break your brain and your heart at the same time, and somehow pulls it off. Matthew McConaughey plays a former pilot turned reluctant astronaut who leaves Earth—and his daughter—to find a new home for humanity.

Space travel. Black holes. Time moving differently depending on gravity. It gets deep. But underneath all the physics lectures is a story about love—specifically, a father’s love for his kid—and how that can stretch across time and space. Literally.

Christopher Nolan does his usual “brainy blockbuster” thing, and Hans Zimmer’s score is basically a religious experience. It’s not perfect (there’s some clunky exposition and a few science-y eye rolls), but when it hits, it hits. If you want to feel small and overwhelmed and weirdly hopeful, this is your movie.

Top Gun: Maverick (2022)

Look, no one expected Top Gun: Maverick to be this good. We thought we were getting a nostalgia cash-in with Tom Cruise doing flyboy stuff. Instead, we got a surprisingly emotional, absurdly entertaining sequel that somehow outflies the original.

Cruise is back as Maverick, older but still cocky, now training a new squad of pilots for a borderline impossible mission. It’s got the tension of a heist movie, the energy of a sports drama, and those signature jet sequences that legit make your stomach drop. And yes, there’s beach football.

What makes it work is that it knows it’s about legacy. About reckoning with the past, passing the torch, and realizing some ghosts don’t stay in the cockpit. Miles Teller is solid, the aerial stunts are all real (no CGI flight nonsense), and it somehow made “Danger Zone” feel cool again. This isn’t just a good action movie—it’s a great movie, period.

The Caine Mutiny Court-Martial (2023)

This is one of those movies that feels like it should be boring—just a bunch of people talking in a courtroom—but it’s absolutely not. The Caine Mutiny Court-Martial is a lean, tense drama about a Navy officer put on trial for relieving his captain of duty during a storm. The catch? He might’ve saved everyone’s lives… or committed mutiny. Depends on who you ask.

Kiefer Sutherland plays the captain, and he’s walking that razor-thin line between strict and totally unhinged. Jason Clarke is the defense attorney trying to dig out the truth, and the whole thing unfolds like a pressure cooker—tight room, no escape, and everyone unraveling by degrees.

Directed by William Friedkin (The Exorcist, The French Connection) in what ended up being his final film, it’s sharp and stripped-down, almost theatrical. No filler, no flashy distractions—just performances, tension, and moral gray areas. If you like A Few Good Men, or anything that forces you to pick a side without telling you how, this one’s worth your time.

Minority Report (2002)

This is Spielberg doing sleek, brainy sci-fi and Tom Cruise doing “man on the run but still somehow charming” in peak form. In Minority Report, the future has figured out how to stop crime before it happens—thanks to three creepy psychic kids floating in a tub. Cruise plays the top cop of this “PreCrime” unit… until the system predicts he’s about to commit murder.

From there, it’s all sprinting, sweating, eye-scanning tech paranoia. The movie absolutely flies. But underneath the chases and futuristic gadgets is this core idea that still hits: If someone says you’re going to do something—does that make it inevitable?

It’s stylish as hell—washed-out blues and silvers, bizarre tech that now feels a little too real—and it hasn’t aged a bit. If Blade Runner and The Fugitive had a smarter, more paranoid child, it’d be this movie.

Three Months (2022)

This one slipped past a lot of people, but it’s genuinely special. Three Months follows a South Florida teen named Caleb (played by Troye Sivan—yes, the pop star, and he’s really good here) who finds out he may have been exposed to HIV, and has to wait three months for test results.

That’s the plot, but it’s really about all the things you feel when life throws a grenade into your plans—fear, boredom, self-doubt, weird moments of clarity. It’s a coming-of-age movie, but more raw than cute. And surprisingly funny in places. It’s got heart, and it doesn’t try to turn trauma into some kind of big, teachable moment.

The best part? It’s honest. It treats the HIV storyline with care and nuance, without getting preachy. Think Love, Simon, but grittier and with more edge. Also: great soundtrack, great hair, great sweat-drenched Miami vibes.

Honor Society (2022)

Honor Society is a teen comedy with sharp teeth. It follows Honor (played by Angourie Rice), an overachieving high schooler who’ll do whatever it takes to land a life-changing recommendation letter from her sleazy guidance counselor. Her plan? Sabotage her top academic rivals—until, of course, feelings start getting in the way.

It starts off like Election—clever, snarky, voice-over-heavy—but sneaks in a little more heart than you expect. There are twists, but not in a gimmicky way. Just enough to keep you on your toes. Gaten Matarazzo (yep, from Stranger Things) is great here too—awkward, funny, and way more complicated than he first seems.

What works is how self-aware it is. It’s a teen movie that knows the rules and messes with them. If you like your high school stories with a little bite, a little mess, and more than one “wait, what just happened?” moment, queue this up.

Collateral (2004)

Tom Cruise as a villain is rare, but when he goes there? It rules. Collateral is one night in L.A.—Jamie Foxx plays a cab driver who picks up a guy in a gray suit (Cruise), who turns out to be a hitman working his way through a list. The twist? He makes Foxx drive him to each stop.

It’s sleek, tense, and has that Michael Mann nighttime glow—cool blues, empty freeways, everything humming with low-level danger. The conversations are just as sharp as the action. Cruise is chilling without ever overdoing it, and Foxx (who got an Oscar nom for this) is the moral compass trying to hold it together in real time.

The movie’s basically a pressure cooker in a taxi. It’s about fate, choice, and what people are capable of when pushed. No frills, no fluff—just two incredible actors, one messed-up night, and a city that never sleeps.

Wrap Up

So yeah—this week’s Paramount Plus lineup? Kind of a banger. Whether you’re in the mood to cry about time and language (Arrival), vibe with a slow-burning family drama (Minari), or spiral into retro horror paranoia (Apartment 7A), there’s something here that hits deeper than your average scroll-and-forget pick.

Maybe you want big, brainy space epics (Interstellar) or sweaty jet-fueled adrenaline (Top Gun: Maverick). Maybe you’re craving courtroom drama (The Caine Mutiny Court-Martial), futuristic paranoia (Minority Report), or a hitman in a cab at 2 a.m. (Collateral). Or maybe you’re just looking for something that understands what it’s like to be young, scared, and in flux (Three Months, Honor Society).

Either way, these movies actually go somewhere. They say something. They leave a mark. Some are stylish as hell, some are heartbreakers in disguise—but none of them feel like background noise.

So light a candle. Pop some popcorn. Or just throw one on while you ignore your laundry. But don’t let another “meh” movie night steal your time. These are worth it.