So you’re stuck in scrolling purgatory again, huh? Endlessly thumbing through Apple TV, 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.
Good One (2024)
Not much happens in Good One, but somehow it says everything. It’s just a teenage girl, her dad, and his old buddy hiking through the Catskills for a few days. That’s it. But the way the tension builds between the adults—those tiny jabs and weird silences? Yeah, that stuff’s doing the heavy lifting.
Sam, the daughter, is stuck watching these two guys try (and fail) to connect, and slowly realizing she might be the most mature person on the trip. It’s super quiet, super natural—almost awkward at times—but that’s the point. This is the kind of movie where a single look or a long pause hits harder than a full speech.
If you’re into those slow, emotionally observant character studies that sneak up on you—like Leave No Trace or early Greta Gerwig energy—you’ll want to sit with this one.
Star Trek: Section 31
So Michelle Yeoh is back as Philippa Georgiou, and this time she’s leading her own Star Trek spy thriller. Yes, it’s canon. No, it’s not your grandpa’s Enterprise. This is the shadowy, morally gray corner of the universe—secret missions, ethical knots, the kind of Federation business no one wants to talk about.
It’s slick and intense and honestly kind of refreshing. Yeoh kills it as always—cool, calculating, but with just enough emotion under the surface to keep you guessing. And the vibe? Less “boldly go,” more “quietly manipulate while everyone else is watching the stars.”
If you love sci-fi but wish it leaned more into the political thriller zone—with action, betrayal, and galaxy-sized consequences—this is your jam.
September 5 (2024)
This one’s stressful in all the right ways. September 5 drops you right into the 1972 Munich Olympics, just as everything goes to hell. A terrorist attack unfolds live, and an American broadcast team suddenly has to figure out how to cover it—while it’s happening. No one’s prepared. Everyone’s scrambling. And the world’s watching.
Peter Sarsgaard plays the anchor holding it together on the outside while falling apart behind the scenes. It’s tight, fast, and full of moral landmines. Do you report everything? Edit the truth? What’s too much—and what’s not enough?
It’s like Network meets Argo, but way more intimate. If you like real-time tension and messy, human ethics under pressure, this one will keep your heart in your throat.
Touch (2024)
Touch is one of those rare, grown-up love stories that doesn’t try to impress you—it just feels real. A man goes looking for the girl he loved fifty years ago. She disappeared. He never stopped wondering. And now he’s crossing continents to find her.
It’s slow, emotional, and full of that aching, what-could-have-been kind of energy. You’re watching memories collide with reality in this very quiet, very vulnerable way. There’s a lot of silence, a lot of stillness—and that’s kind of the point. The camera just sits with people, and lets the feelings rise on their own.
If you’ve ever had a love that stayed with you, even if it didn’t last—yeah. This one will hit you where it hurts, softly.
The Room Next Door (2024)
Pedro Almodóvar put Tilda Swinton and Julianne Moore in a house together and said, “Go.” The result? An hour and a half of heartbreak, memory, and quiet reckonings—wrapped in perfect outfits and gorgeous light.
The story’s simple: one friend is dying, the other shows up after years of silence. What unfolds is a slow, beautiful unpacking of their entire relationship—what went unsaid, what was misunderstood, what still matters even now.
It’s tender. It’s sharp. And it doesn’t flinch from the ugly stuff. It’s about old friendships, chosen family, and facing the end with honesty and maybe a little grace. No melodrama, no big speeches—just two brilliant actors quietly breaking your heart.
If you want something small but devastating, this is the one. Bring tissues. And maybe call an old friend after.
Nickel Boys (2024)
This one’s gonna stay with you. Nickel Boys is based on Colson Whitehead’s novel, and if you’ve read it, you know—it’s devastating. The story follows two Black boys at a so-called “reform school” in 1960s Florida that’s really just a brutal, violent institution hiding behind a shiny government sign.
It’s not a trauma-porn movie. It’s quiet, restrained, and deeply empathetic. Ethan Herisse (from When They See Us) gives a performance that’s all dignity and buried rage, and RaMell Ross directs with the same careful eye he brought to his doc Hale County This Morning, This Evening. You can feel the weight of history in every frame, but it’s never just about pain—it’s about survival, too.
If you can handle something heavy, and you want to watch a film that means something, Nickel Boys hits hard—and for all the right reasons.
Between the Temples (2024)
This one’s weird and warm in the best way. Jason Schwartzman plays a Jewish cantor who’s going through a quiet meltdown—he’s lost his wife, his faith, and maybe his voice. Then out of nowhere, his childhood music teacher (played by Carol Kane, absolute chaos angel) shows up and signs up for adult Bat Mitzvah lessons. And yeah, everything starts to shift.
It’s a small, strange movie about grief, tradition, and figuring out who you are after the big stuff happens. There’s singing, awkwardness, bad haircuts, and these great little moments where you’re laughing and then suddenly kind of choked up.
It feels like if A Serious Man had a cousin who went to therapy and started doing yoga. If you like movies that are a little off-center but still full of heart, this one’s a gem.
Once Upon a Time in Uganda (2021)
If you love movies about movies—and you like your underdog stories scrappy, loud, and full of actual joy—Once Upon a Time in Uganda is your next watch. It’s a documentary about Isaac Nabwana, a brickmaker turned action director in Kampala, and the totally DIY film movement he accidentally created: Wakaliwood.
We’re talking homemade props, zero-budget explosions, kung fu moves that make no sense—and so much heart. The doc follows Isaac and Alan Hofmanis, a film nerd from NYC who moves to Uganda to help bring Wakaliwood to the world. It’s chaotic and hilarious, but it’s also super moving. You feel how much this stuff means to them.
If Be Kind Rewind was real and way more badass, it’d look like this. Highly recommend watching it with friends and cheering out loud.
Bird (2024)
Andrea Arnold (Fish Tank, American Honey) is back, and she’s still the queen of finding beauty in the margins. Bird is about a 12-year-old girl named Bailey, growing up somewhere in the UK with her dad and little brother. There’s no plot twist, no big arc—just life, messy and tender and real.
Barry Keoghan plays her dad, and he’s exactly the right mix of charming and totally unreliable. The camera just follows Bailey, watching her take care of everyone while still trying to be a kid. It’s the kind of film where the quiet stuff—brushing your brother’s hair, climbing on rooftops, zoning out in class—hits harder than any dramatic monologue ever could.
It’s raw and lovely and sometimes hard to watch. If you liked The Florida Project or Wendy and Lucy, this one’s right in that lane. Small story, big feelings.
The Way I See It (2020)
So this one’s technically a political doc—but don’t let that scare you off. The Way I See It follows Pete Souza, who was the official White House photographer for both Reagan and Obama, and it’s basically a behind-the-scenes photo album with heart, soul, and a surprising amount of bite.
Souza goes from quiet observer to reluctant truth-teller as he reflects on how leadership—and decency—used to look, and what we’ve lost. The footage is stunning, but it’s his commentary that really lands. He’s not a pundit, he’s just a guy who spent years in the room where it happened. And now he’s using those photos to say something.
If you need a little reminder that empathy and character still matter, this one delivers. Might make you tear up. Might make you vote. Either way, it’s worth a watch.
Wrap Up
So yeah, this week’s lineup doesn’t play it safe—and that’s the point. Whether it’s a teenage girl quietly watching the adults around her fall apart (Good One), or Michelle Yeoh skulking through the shadows of the Star Trek universe (Section 31), these picks actually say something. They’ve got soul, bite, weirdness, heart.
You’ve got love stories that span continents (Touch), real-time newsroom panic (September 5), and friendship breakups that feel like emotional sucker punches (The Room Next Door). There’s heavy hitters like Nickel Boys—which might leave you speechless—and joyful chaos like Once Upon a Time in Uganda, which might make you want to grab a camcorder and make your own movie.
And whether it’s a pre-teen holding her whole family together (Bird) or a White House photographer quietly sounding the alarm (The Way I See It), there’s a thread running through all of this: perspective. These are stories about seeing clearly, about who gets to tell the story, and what we do with the truth once we have it.
So yeah—your watchlist? Handled. Just pick your mood, clear a little space, and hit play.
