So you’re stuck in scrolling purgatory again, huh? Endlessly thumbing through HBO Max, 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.
Goodrich (2024)
Michael Keaton as a messy, late-in-life dad trying to figure it all out? Yes, please. Goodrich is part comedy, part emotional midlife reset. Keaton plays a once-successful artist who’s forced to take care of his young twins when his wife checks into rehab. Cue the chaos—and some real soul-searching.
There’s a sweet generational clash running through it: he’s trying to be a decent parent to these little kids now, while also patching things up with his grown daughter (Mila Kunis), who didn’t exactly get the best version of him the first time around. It’s a redemption story, but not in a cheesy, hug-it-out way. It’s funny, a little sharp around the edges, and pretty honest about how hard it is to change.
If you like your family comedies with a side of dysfunction and some heart that actually feels earned—this one delivers.
Janet Planet (2023)
This is one of those quiet, oddly specific movies that sneaks up on you. Set in small-town Massachusetts in the early ’90s, Janet Planet follows an 11-year-old girl named Lacy who’s orbiting her bohemian single mom for one dreamy, shapeless summer. Not a lot “happens” in the plot sense—but emotionally? Everything does.
Julianne Nicholson plays Janet with this magnetic, earthy energy that makes it totally believable that everyone who meets her falls a little in love. And newcomer Zoe Ziegler as Lacy brings this stillness and curiosity that’s really compelling to watch. The whole thing feels like memory—awkward, sunlit, sometimes lonely.
Written and directed by playwright Annie Baker, it’s intimate and slow in that real life isn’t structured like a movie kind of way. If you like films like The Tree of Life or Boyhood, and don’t mind a little ambiguity, this is a quiet gem.
We’re All Going to the World’s Fair (2021)
This one’s unsettling in a way that sticks with you—not because of gore or jump scares, but because it feels too real. We’re All Going to the World’s Fair is about an isolated teen who starts playing this creepy online horror game, and it slowly becomes unclear what’s role-play and what’s actual unraveling.
It’s filmed in this low-fi, webcam-heavy style that pulls you deep into internet rabbit hole territory. Anna Cobb (in her first role, by the way) gives a completely absorbing performance—half YouTube vlogger, half haunted kid searching for something she can’t name. There’s this eerie stillness to the whole movie, like something bad is coming but you’re not sure what or when.
If you’ve ever felt weirdly haunted by the internet—or by the version of yourself you’ve created online—this one cuts deep. It’s small, strange, and quietly brilliant.
Master of Light (2022)
Master of Light is a documentary, but it feels more like watching someone paint their soul back together in real time. It follows George Anthony Morton, a classical painter who spent a decade in federal prison and is now back home in Kansas City, trying to reconnect with his roots—and his family—through his art.
The film is intimate in a way that documentaries rarely are. It’s not about the “success story” arc. It’s about healing. Watching George paint his mother while trying to work through everything between them is just… raw. Beautiful. Uncomfortable in all the ways real growth is.
If you’re into stories where creativity is a lifeline and redemption doesn’t come easy, Master of Light is worth your time. It’s patient, personal, and honestly, kind of breathtaking.
Aftersun (2022)
This one doesn’t come at you loud—it sneaks in and stays with you. Aftersun is about a dad and his daughter on vacation at some sleepy resort in the ’90s, just the two of them. Nothing dramatic happens, really. They swim, they eat, they joke around. But underneath all that, something’s not quite right—and the film lets you feel it before you understand it.
Paul Mescal is heartbreak in human form as Calum. He’s trying so hard to be present, to be fun, to be okay. And Frankie Corio, who plays Sophie, is just effortlessly real. The whole thing is shot like a memory—sun-washed, slightly fuzzy, full of moments that don’t seem important until they hit you later like a freight train.
There’s no big “reveal.” Just a slow ache, and the sense that this is someone trying to remember their father not just as they saw him, but as he really was. It’s soft, it’s sad, and if you’ve ever looked back on your childhood and realized you missed the bigger picture—this one’s going to hit deep.
Endangered (2022)
Endangered doesn’t sugarcoat a damn thing. It’s a documentary that drops you right into the lives of four journalists—one in Brazil, one in Mexico, one in the U.S., and one in the UK—all trying to do their jobs while everything around them turns hostile.
It’s not about big newsroom speeches or dramatic exposés. It’s about the slow, daily grind of threats, intimidation, burnout, and fear. One moment you’re watching someone get harassed at a protest; the next, it’s death threats in their inbox. It’s relentless. And weirdly quiet. Which makes it even scarier.
There’s no neat resolution here. Just the question hanging in the air: what happens when truth-telling becomes a risk most people aren’t willing to take? If you care about the media (or even if you’re just suspicious of it), this one makes you sit up. It’s not flashy—it’s necessary.
Tuesday (2023)
This one’s a weird little heartbreaker. Tuesday is about a teenage girl and her mom—and Death, who shows up as a giant, talking parrot. Yes, really. And somehow, it totally works.
Julia Louis-Dreyfus plays the mom, and she’s not doing her usual comedy thing here. She’s raw, fragile, pretending everything’s fine when it clearly isn’t. The daughter, played by Lola Petticrew, is dying. The bird is Death, but also kind of… gentle? It sounds ridiculous, but it’s not. It’s strange and tender and full of this aching love that parents don’t always know how to show.
It doesn’t hit you all at once. It sort of unfolds like a fable—sad, surreal, and surprisingly beautiful. If you’re up for something that’s a little magical and a lot emotional, Tuesday is worth the emotional spiral.
Experimenter (2015)
If you’re into weird true stories or psych experiments gone too far, Experimenter is a trip. It’s based on the life of Stanley Milgram—the guy who ran those infamous “shock experiments” in the ’60s where people kept hitting buttons they thought were electrocuting strangers, just because someone in a lab coat told them to.
Peter Sarsgaard plays Milgram, and the movie plays with structure in cool ways. He breaks the fourth wall. Elephants walk across the frame. It’s not your typical biopic—it’s trying to get into your head the same way his experiments got into everyone else’s. Winona Ryder’s in it too, doing quiet, steady support work.
It’s one of those films that makes you think, “Would I have done it?” And that question lingers. If you like your movies with a side of moral dread and some style points, this is a hidden gem.
MaXXXine (2024)
If you’ve been following Ti West’s twisted X trilogy, MaXXXine is the bloody, neon-soaked finale you’ve been waiting for. Set in 1985 Los Angeles during the Night Stalker murders, Maxine Minx is done with porn and ready to become a real movie star—or die trying. Which… might actually happen, because a masked killer is stalking her through Hollywood’s sleaziest corners.
Mia Goth is once again unhinged perfection—equal parts scream queen and scream icon. This time she’s surrounded by a ridiculous cast: Kevin Bacon, Elizabeth Debicki, Halsey, Bobby Cannavale, and Giancarlo Esposito all show up to play in the gore-soaked sandbox. The vibe? Boogie Nights meets Scream by way of American Psycho.
The kills are brutal. The satire is sharp. The Hollywood dream is rotten to the core. And yet, MaXXXine finds a weird kind of beauty in the carnage. It’s a love letter to VHS horror, exploitation cinema, and anyone who ever clawed their way to the top with a blood-slicked grin. Loud, nasty, and weirdly empowering—this is how you end a trilogy.
Mickey 17 (2025)
Trust Bong Joon-ho to make a sci-fi cloning thriller feel intimate, political, and completely bizarre in all the best ways. Mickey 17 stars Robert Pattinson as a guy whose job is literally to die. He’s an “Expendable” on a deep-space colonization mission—every time he dies, a new version of him is printed, memories intact.
But things get weird (and dangerous) when Mickey 17 survives and returns to find Mickey 18 already walking around. Cue identity crises, government secrets, sentient alien creatures called Creepers, and a full-blown rebellion. It’s existential sci-fi wrapped in dark comedy and sleek visuals, with shades of Moon, The Matrix, and Snowpiercer (because of course Bong can’t resist a little class warfare).
The cast is stacked—Naomi Ackie, Steven Yeun, Toni Collette, Mark Ruffalo—and the whole thing feels epic but personal. Think less space battles, more “what makes a person a person?” type questions. Bonus: there’s a surprising amount of emotion under all the cloning and alien diplomacy. Bong doesn’t miss—and Mickey 17 proves it again.
Wrap Up
So yeah—this week’s HBO Max lineup is a little all over the place, but in the best way. You’ve got cosmic clone crises (Mickey 17), a slasher soaked in VHS sleaze and daddy issues (MaXXXine), and a surprisingly tender story about Death as a giant bird (Tuesday). You want low-budget internet horror? Try We’re All Going to the World’s Fair. Or something quiet and aching like Aftersun or Janet Planet, where the biggest twists are emotional, not plot-based.
There’s real range here—from loud and bloody to soft and reflective, from documentaries about press freedom (Endangered) and redemption through art (Master of Light), to a midlife mess of a dad just trying to keep it together (Goodrich). And if you want to feel weird and morally uncomfortable for 90 minutes in the best way possible, Experimenter is just sitting there waiting for you.
Whether you want to spiral into some existential sci-fi, cry about your childhood, or just watch Mia Goth go full chaos again, this list isn’t playing it safe. These movies are bold, messy, emotional, and actually worth your time. So pick one. Hit play. And if it blows your mind—or wrecks you a little—come back and tell us. You know we live for that.
