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 May 25–31, 2025—because your time is too valuable for another “meh” movie night.
Finch (2021)
Tom Hanks and a robot? Say less. Finch is one of those post-apocalyptic movies that somehow manages to feel… cozy? It’s set in a future where solar flares have torched the planet, and Hanks plays Finch, a dying engineer who builds a robot (voiced by Caleb Landry Jones) to take care of his dog after he’s gone. Yes, it’s basically a man, his dog, and his robot on a road trip through the end of the world—and it’s surprisingly tender.
This one doesn’t hit you with explosions or high-stakes missions. It’s slower, quieter, and honestly more emotional than you’d expect. The real draw here is the relationship between Finch, his pup Goodyear, and the robot, Jeff, who’s kind of like WALL-E meets a toddler learning life lessons. And Hanks? He’s doing that thing he always does—grounding a wild premise in something that feels heartbreakingly human.
If you’re into Cast Away or even The Iron Giant, you’ll vibe with this. It’s not about the end of the world—it’s about what makes life worth living when there’s almost nothing left. And if you’ve ever sobbed over a movie dog, yeah, maybe get some tissues. This one sneaks up on you.
Tetris (2023)
Bet you didn’t expect a Cold War thriller when you heard “the Tetris movie,” right? But Tetris goes hard. It’s not about stacking blocks—it’s about one man (Taron Egerton, killing it as usual) fighting to bring the game to the world while dodging Soviet agents, corporate sharks, and a metric ton of red tape. It’s like The Social Network meets Bridge of Spies… with Game Boys.
Egerton plays Henk Rogers, a game developer who stumbles on Tetris and becomes obsessed. He’s charming, fast-talking, and totally out of his depth in Soviet Russia—which makes it all the more fun to watch. The film throws you headfirst into legal chaos, backroom deals, and scenes where you’re like, “Wait… is this really how Tetris got made?” (Spoiler: kind of, yeah.)
If you love origin stories with real stakes—think Moneyball or Air—you’ll eat this up. It’s slick, fast-paced, and has way more heart than you’d expect from a movie about a puzzle game. Also, the retro 8-bit aesthetic sprinkled throughout? Chef’s kiss. This one’s a blast.
On the Rocks (2020)
Imagine teaming up with your charming, chaotic dad to spy on your maybe-cheating husband—that’s the setup for On the Rocks, and it’s as fun and awkward as it sounds. Rashida Jones plays Laura, a writer stuck in a rut, and Bill Murray is her larger-than-life father who’s convinced something shady is going on. So naturally, they start tailing her husband around Manhattan like it’s a noir caper.
Sofia Coppola directed this one, and it’s got her usual touch—elegant, a little melancholy, and full of gorgeous city scenes. But it’s also unexpectedly funny, thanks to Murray just being peak Bill Murray. He’s got that mix of mischief and melancholy down to a science, and his chemistry with Jones is genuinely lovely. You believe this is a daughter who both loves and is exhausted by her dad.
This isn’t a “big” movie—it’s more of a vibe. A hangout film with some deeper stuff under the surface about trust, marriage, and getting older. If you liked Lost in Translation or Frances Ha, this’ll scratch that itch. It’s low-key but kind of perfect for a late-night watch.
The Banker (2020)
Based on a wild true story, The Banker is about two Black entrepreneurs in the 1960s who find a genius way to break into the segregated real estate world: they hire a white guy to be the face of their business while they pull the strings behind the scenes. Anthony Mackie and Samuel L. Jackson play Bernard Garrett and Joe Morris, and they’re both magnetic in completely different ways.
Mackie’s all precision and restraint, while Jackson is having the time of his life playing the flashy, fast-talking partner. Together, they’re electric. The movie dives into racism, capitalism, and ambition, but never gets preachy. It’s smart, slick, and feels like a heist film in places—except the score isn’t money, it’s justice.
It’s got serious Hidden Figures and Green Book energy, but with more bite. Also, Nicholas Hoult’s in it as the “front man,” and he nails that whole confused-but-trying-to-help thing. If you like stories about people quietly flipping the system on its head, this one’s a must. It’s not just history—it’s a blueprint for hustle.
Palmer (2021)
Palmer is one of those movies that sneaks up on you. Justin Timberlake plays Eddie Palmer, a former football star fresh out of prison trying to get his life back together in a small Southern town. He ends up looking after a kid named Sam who’s nothing like the other boys—he likes dolls, dresses, and Disney princesses. And instead of being some sappy, “let’s fix each other” story, it’s way more grounded and real.
The heart of the movie is the relationship between Palmer and Sam, and it’s honestly the best thing Timberlake’s ever done. He’s stripped down, raw, and believable as a guy who’s trying not to screw up again. And Ryder Allen as Sam? Total scene-stealer. He brings this fearless, open-hearted energy that makes you want to protect him at all costs. Their bond isn’t just cute—it’s messy, earned, and incredibly moving.
This one’s for fans of The Pursuit of Happyness or Manchester by the Sea—films that aren’t afraid to sit in the uncomfortable stuff before earning a little light. It’s about second chances, breaking cycles, and how parenting doesn’t always look the way you expect. And yes, you might cry. Don’t say I didn’t warn you.
Causeway (2022)
Causeway is one of those quiet movies that stays with you way longer than you expect. Jennifer Lawrence plays Lynsey, a soldier who comes home to New Orleans after suffering a traumatic brain injury in Afghanistan. She’s trying to reintegrate into a life that doesn’t quite fit anymore, and along the way, she connects with James (Brian Tyree Henry), a local mechanic dealing with his own grief.
This isn’t a war movie. There are no big flashbacks or dramatic courtroom scenes. It’s about two people trying to function when their inner lives are a mess. Lawrence is stripped-down and raw, maybe the most vulnerable she’s ever been on screen. And Henry? Absolutely devastating in the best way. No lie—he earned that Oscar nomination. Every line, every look—it’s all just so human.
If you’re into emotionally rich, character-driven stories like The Rider or Manchester by the Sea, Causeway should be on your list. It’s soft-spoken but powerful, and it’s a reminder that sometimes healing looks like sitting on a porch and just… being. It’s not flashy, but it’s honest—and that hits harder than any explosion ever could.
The Boy, the Mole, the Fox and the Horse (2022)
This one is basically a hug in animated form. The Boy, the Mole, the Fox and the Horse is adapted from Charlie Mackesy’s beloved book, and if you’ve ever flipped through those soft, ink-and-watercolor pages, you know exactly what kind of vibe we’re working with here. It’s quiet, poetic, and absolutely gorgeous from start to finish.
The story’s super simple—a boy journeys through the countryside and makes friends with a mole, a fox, and a horse, each of whom drops life advice that’ll make even the most emotionally repressed adult tear up. Think Winnie the Pooh meets The Little Prince, but with more fox-related wisdom and fewer honey pots. The animation is stunning, like you’re watching a storybook come to life in real time.
It’s only about 30 minutes long, but it packs an emotional punch—and it even snagged an Oscar for Best Animated Short. Whether you’re watching it with kids or just need a quiet reset from the chaos of daily life, this one’s a must. Fair warning though: the horse might make you cry.
Wolfwalkers (2020)
Cartoon Saloon doesn’t miss, and Wolfwalkers might be their best yet. Set in 17th-century Ireland, it follows Robyn, a young English girl training to be a hunter, who ends up befriending Mebh, a wild girl from a tribe of mystical shapeshifters who become wolves when they sleep. It’s part folklore, part coming-of-age, and all heart.
The animation is jaw-droppingly good—like, hand-drawn, textured, and absolutely alive. Every frame feels like a painting. But beyond the visuals, the story hits deep. It’s about colonization, freedom, friendship, and standing up to authority. Robyn and Mebh’s friendship feels messy and real, and the emotional stakes just keep climbing. Also, there’s a wolf pack. And magic. So… what’s not to love?
If you’re a fan of Princess Mononoke, Brave, or The Secret of Kells, you’re going to vibe hard with this one. It’s one of those rare family films that feels just as meaningful for adults as it does for kids. And honestly, more animated movies should trust their audience this much.
Come From Away (2021)
If you need your faith in humanity restored in under two hours, Come From Away has you covered. This filmed version of the Broadway hit captures the true story of what happened when 38 planes were rerouted to a tiny town in Newfoundland on 9/11. Nearly 7,000 passengers were stranded. And the town? They welcomed them with open arms.
It could’ve been cheesy. It could’ve been cloying. But somehow it’s not. It’s funny, raw, and ridiculously heartfelt. The cast plays multiple roles, switching between locals and “plane people,” and the whole thing moves with this propulsive energy that makes you forget you’re watching a stage show. The music slaps too—lots of Celtic flair and ensemble power that hits you right in the chest.
If you liked Hamilton, Dear Evan Hansen, or The Last Five Years, this is a must. But even if musicals aren’t your thing, give this one a shot. It’s about kindness, resilience, and how strangers can become family when everything falls apart. Plus, it’s just really freaking good.
Cha Cha Real Smooth (2022)
Let’s be real—this one’s a total vibe. Cha Cha Real Smooth is the kind of indie dramedy that walks a tightrope between funny and heart-wrenching without ever losing its balance. Cooper Raiff wrote, directed, and stars as Andrew, a 20-something bar mitzvah party starter (yep, that’s a real job) who’s kind of lost, kind of adorable, and very much figuring it out.
He meets Domino (Dakota Johnson, effortlessly cool) and her autistic daughter, and what starts as a casual friendship turns into something a lot more complicated. There’s no big drama or manufactured heartbreak—just the messy, beautiful chaos of real connection. Raiff brings this earnest charm that’s impossible to fake, and the whole film feels like a warm conversation over late-night fries.
If you loved The Way Way Back or Me and Earl and the Dying Girl, you’re in the right ballpark. It’s tender, a little awkward, and refreshingly sincere. The kind of movie where you end up thinking, “Why don’t more films feel like this?” Honestly, it’s a low-key gem. Don’t sleep on it.
Wrap Up
There it is—ten under-the-radar gems that prove Apple TV+ has been quietly dropping some of the most thoughtful, surprising, and genuinely moving films of the last few years. Whether it’s Tom Hanks vibing with a robot and a dog in Finch, Taron Egerton unraveling Cold War video game drama in Tetris, or Jennifer Lawrence quietly breaking your heart in Causeway, there’s something here for every kind of movie mood.
You want slow burns with emotional payoff? Covered. Big performances in small stories? Absolutely. Animated beauty, Broadway magic, real-life heroes, and chaotic bar mitzvah party-starters? All in the mix. These aren’t just movies you watch—they’re the kind that stick with you after the credits roll, the kind that make you text your friends, “You have to watch this.”
So the next time you’re scrolling and thinking, “There’s nothing good to stream,” remember this list. Pick one. Hit play. And let yourself get a little wrecked, a little inspired, maybe even a little healed. Then come back and tell me what hit hardest. We’re all ears.
