So you’re stuck in scrolling purgatory again, huh? Endlessly thumbing through Hulu, 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.
Lee (2023)
Kate Winslet plays a war photographer who walked away from the fashion world and straight into WWII—and no, this isn’t your usual Oscar-bait biopic. Lee is raw, stylish, and deeply personal. It follows Lee Miller, who went from modeling for Vogue to documenting the horrors of war, and Winslet doesn’t hold back for a second. She’s fierce, messy, traumatized, and completely magnetic.
The film isn’t just about history—it’s about who gets to tell it. There’s a sharpness to the way it tackles power, image, and what it costs to witness violence up close. Add in a killer supporting cast (hello, Marion Cotillard and Josh O’Connor), and you’ve got something that feels way more alive than most “important” period dramas. Plus, it looks incredible—like vintage Vogue collided with a war zone.
Winslet also helped finance the shoot herself when money ran out. If you’re into war stories with a woman’s point of view, or just want to watch a legendary actress absolutely eat, Lee is it.
Exhibiting Forgiveness (2024)
This one hits like a gut punch in slow motion. It’s about a successful artist—played with quiet power by André Holland—who’s pulled back into old pain when his estranged dad reappears, years into recovery. They’re both trying. They’re both failing. And the film just sits in that tension.
Directed by real-life visual artist Titus Kaphar, it feels more like an open wound than a movie. It’s about trauma, yes, but also about creativity, faith, and what it actually takes to forgive someone who hurt you—especially when they want a relationship but not accountability. The father-son dynamic is raw, and the way it’s framed—visually and emotionally—feels deeply personal.
It’s not loud or flashy. It’s not trying to explain itself. But it’s doing something honest. And if you’ve ever had complicated family stuff (so, all of us), it’ll find you.
Humane (2024)
Imagine if climate collapse got so bad the government started asking people to volunteer for “population reduction.” Now imagine your dad signs up, and your whole family gets together for one last dinner… and someone doesn’t make it out alive.
That’s the setup for Humane, and it’s tense from the jump. The whole thing takes place in one day, mostly in one house, and it’s just this slow boil of guilt, dread, and sibling chaos. Jay Baruchel and Emily Hampshire lead the cast, and everyone’s got a secret, a grudge, or both.
It’s the kind of story where every line feels like a ticking bomb. The future it imagines isn’t sci-fi—it’s barely fiction. Director Caitlin Cronenberg (yes, from that Cronenberg family) brings that off-kilter, skin-crawling unease her dad’s famous for, but gives it a real human core. It’s dark, sharp, and unsettling in all the right ways.
Summering (2022)
This one’s got big end-of-summer energy—the kind where you’re still a kid, but you can feel the grown-up world creeping in. Four girls are hanging out in their small town before school starts again, trying to hold on to that last bit of childhood. Then they find a dead body in the woods.
Yeah, it sounds like Stand by Me, but it’s slower, softer, and more about the feelings than the mystery. Director James Ponsoldt (who made The Spectacular Now) gives it this hazy, sunlit vibe that’s totally nostalgic without being fake-sweet. The friendship feels real. So do the fears, and the awkwardness, and the way they start to see the world differently by the end.
It’s not a movie that shouts. It lingers. If you’re in the mood for something low-key, heartfelt, and full of that quiet ache of growing up—this one’s a sleeper.
The Cave (2019)
This one doesn’t ease you in—it drops you straight into hell. The Cave is technically a documentary, but it feels more like a warzone survival story. It follows Dr. Amani Ballour, a pediatrician running an underground hospital in Syria, doing everything she can to keep people alive while the world above her literally collapses.
Bombs are falling. Kids are screaming. Supplies are running out. And on top of that, she’s constantly battling dudes who think she shouldn’t be in charge because she’s a woman. It’s tense, it’s raw, and it doesn’t let up. There’s no voiceover, no sugarcoating—just her steady, exhausted voice and the sound of chaos closing in.
It’s not an easy watch, but it’s powerful. The kind of film that gets under your skin and stays there. If you want something real—and I mean real—put this on. Just maybe not on a casual Tuesday night.
Hold Your Breath (2024)
This one’s got that slow-creep kind of horror that messes with your head more than your eyes. Set during the Dust Bowl (yep, that one), Hold Your Breath follows a mother trying to keep her family together while the world outside turns to ash—and something else seems to be creeping in with the dust.
Sarah Paulson leads, and as always, she’s magnetic. You watch her try to stay sane while everything gets more and more off. Dust clouds roll in, weird sounds start echoing, and pretty soon, you’re not sure if it’s environmental collapse or something supernatural—or both. It’s bleak, eerie, and grounded in real history, which makes it hit harder.
This isn’t a jump-scare fest. It’s psychological horror with dirty fingernails. If you liked The Witch or The Others, or just want to feel deeply unsettled by wind and silence, give it a shot.
Breaking (2022)
This one flew under the radar, but it shouldn’t have. Breaking is based on a real story—Brian Brown-Easley, a Marine veteran who got screwed over by the VA and ended up taking a bank hostage when he couldn’t get help. It’s not a thriller, though. It’s a heartbreak in slow motion.
John Boyega is phenomenal. He gives Brian this quiet desperation that never feels overplayed. He’s not out for money or fame—he just wants someone to listen. And Michael K. Williams (in one of his last roles) brings this gentle, worn-out gravity that makes every scene feel like a punch to the chest.
This is one of those films that makes you angry in all the right ways. It’s tight, tense, and painfully human. If you want a movie that sticks with you after the credits roll—this is it.
Babes (2024)
If you’re looking for something that actually understands how messy and hilarious adult friendships can be—Babes nails it. Ilana Glazer stars as Eden, who finds out she’s pregnant after a one-night stand, and leans hard on her lifelong best friend (Michelle Buteau) to help her figure out how the hell to do this.
It’s loud, honest, super funny, and somehow still deeply sweet without getting cheesy. Think Broad City with a baby on the way. There’s sex jokes, panic attacks, weird birth classes, and lots of moments that’ll make you want to text your best friend just to say “thanks for putting up with my chaos.”
It’s not just a comedy about pregnancy—it’s about friendship, identity shifts, and the weird grief that comes with growing up. But yeah, it’s also really funny.
The Lady Bird Diaries (2024)
Okay, history nerds, this one’s for you. But also—if you’re not into political documentaries, The Lady Bird Diaries might surprise you. It’s based on the actual audio diaries Lady Bird Johnson kept during her time in the White House, and hearing it all in her own voice? Weirdly powerful.
She’s smart, sharp, and way more involved than people gave her credit for. The film uses her words—paired with archival footage—to reframe that era through her eyes, and suddenly you’re seeing the civil rights movement, Vietnam, and even Lyndon’s mess of a presidency in a totally different light.
It’s quiet, thoughtful, and kind of radical in its own way. If you’ve ever wondered what it’s like to be the smartest person in the room but told to smile and decorate—Lady Bird’s got a few things to say about that.
In The Summers (2024)
This one’s quiet, personal, and just… tender. In the Summers is about two sisters who spend their childhood summers with their dad in New Mexico—he’s unpredictable, kind of a mess, and clearly trying, even when he’s not getting it right.
The story doesn’t do big drama. It just watches—the way families drift, reconnect, hurt each other without meaning to. And the way those summer trips start to mean different things as the girls get older. It’s shot beautifully, with all this warm desert light and space to breathe.
It feels like memory: a little blurred around the edges, full of love and regret. If you liked Moonlight or The Florida Project, this might be up your alley. It’s not trying to impress you—it’s just telling the truth, gently.
Wrap Up
There’s no theme this week except: don’t waste your time. Whether you’re in the mood to be gutted (Exhibiting Forgiveness, Breaking), disturbed (Hold Your Breath, Humane), or quietly wrecked by childhood nostalgia (Summering, In the Summers), there’s something here with actual weight. Real emotion. Real tension. Real humanity.
These aren’t background-noise movies. They’re the kind you sit with. The kind that leave you thinking long after the credits. A war photographer who refuses to be forgotten (Lee). A pediatrician holding it all together under falling bombs (The Cave). A president’s wife reclaiming her voice in history (The Lady Bird Diaries). A pregnant bestie just trying to figure it out without losing herself (Babes). They all have something to say—and they say it loud, or quiet, or just… perfectly.
So whether you’re queuing up a doc that’ll shake your worldview or a friendship comedy that feels like therapy in joke form, this list has range. Substance and vibes. Pick one. Let it hit. And if something on this list floors you, come back and tell us. You know we love that.
