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 15-21, 2025—because your time is too valuable for another “meh” movie night.
Call Me by Your Name (2017)
There’s summer romance, and then there’s Call Me by Your Name. Luca Guadagnino’s sun-drenched, peach-sweet tale of longing drops you into northern Italy circa 1983, where 17-year-old Elio (Timothée Chalamet) spends his days reading, swimming, and flirting with every feeling he doesn’t quite know how to name—until Oliver (Armie Hammer) shows up.
Oliver is older, a visiting grad student. Their connection starts with side-eyes and casual jabs, but it deepens into something electric and heartbreaking. Chalamet, in the role that made him a star, is all nerves and brilliance, capturing the ache of wanting something you don’t know how to ask for. And the final shot? Devastating.
If you’ve ever been young and confused and wildly, messily in love, this one will wreck you. In the best way.
No Country for Old Men (2007)
This one doesn’t just walk—it stalks. No Country for Old Men is the Coen brothers at their most stripped-down and brutal, adapting Cormac McCarthy’s novel into a modern western where the only real law is chaos.
Josh Brolin plays a hunter who finds a briefcase of cartel money and decides to keep it. Bad idea. Enter Javier Bardem’s Anton Chigurh—a soft-spoken psychopath with a weird haircut and a coin-flipping sense of morality. Tommy Lee Jones rounds it out as the weary sheriff trying to make sense of the violence spiraling around him.
It’s quiet. It’s cold. And it never gives you the catharsis you think is coming. Just dread, dust, and questions that stick to your ribs.
Rosemary’s Baby (1968)
If you’ve ever felt like the whole world was gaslighting you, this one hits hard. Rosemary’s Baby is horror without jump scares—it gets under your skin with slow-building dread and paranoia that never lets up.
Mia Farrow is heartbreaking as Rosemary, a newlywed who moves into a swanky but creepy NYC apartment with her husband and gets pregnant. But something’s off. The neighbors are too friendly. Her doctor brushes off her pain. And her husband? Yeah, don’t get us started.
By the time you realize what’s happening, it’s already too late. It’s terrifying because it’s quiet, plausible, and deeply personal. Horror, yes—but also a brutal metaphor for not being believed.
Whiplash (2014)
This is not a feel-good movie about following your dreams. Whiplash is a fever dream about chasing greatness until it bleeds—and it slaps (literally).
Miles Teller plays a jazz drummer who wants to be one of the greats. J.K. Simmons plays his instructor—a man who believes abuse is just another teaching tool. Their dynamic? Explosive. Dangerous. Addictive. Every scene crackles with tension, and the music pounds like a heartbeat about to burst.
It’s about ambition, control, sacrifice, and what happens when you pour everything into a dream that might not love you back. Buckle up. It gets loud.
Michael Clayton (2007)
George Clooney’s never been cooler—or more haunted. Michael Clayton is a slow-burn legal thriller with the soul of a character study, and Clooney wears the title role like a second skin: slick on the outside, crumbling inside.
He’s a fixer for a high-powered law firm. Think clean-ups, cover-ups, hush-hush phone calls at 3 a.m. But when one of the firm’s top attorneys loses it mid-case—while defending a shady agrochemical giant—Clayton gets dragged into a moral tug-of-war he can’t just talk his way out of.
It’s sharp. It’s smart. And Tilda Swinton, in a performance that earned her an Oscar, steals every scene she’s in. If you like your dramas lean, mean, and quietly devastating, this is your pick.
Beverly Hills Cop (1984)
Eddie Murphy could charm a brick wall, and Beverly Hills Cop is him at peak charisma. He plays Axel Foley, a street-smart Detroit cop who rolls into Beverly Hills to solve his best friend’s murder—and instantly throws the polished local precinct into chaos.
It’s a buddy-cop comedy that actually works. There’s action, yes, but the real juice is watching Axel troll his way through snobby SoCal, cracking jokes and breaking rules with style. The synth soundtrack? Iconic. The banana-in-the-tailpipe scene? Classic.
If you want something fast, funny, and way cooler than it has any right to be, this one still slaps after all these years.
Console Wars (2020)
This one’s for the ‘90s kids—and the marketing nerds. Console Wars is a high-energy documentary that takes you behind the scenes of the original video game showdown: Sega vs. Nintendo. Back when Mario was king and Sonic was the cocky new kid with attitude.
It’s got the underdog energy of a sports movie and the pacing of a tech thriller. You meet the suits who made the decisions, the ad wizards who cooked up “Genesis does what Nintendo doesn’t,” and the execs who risked everything to shake up an entire industry.
If you grew up button-mashing through 16-bit worlds or you just love a good David vs. Goliath story, this one’s pure nostalgia with a pulse.
The Social Network (2010)
You don’t get to 500 million friends without making a few enemies—remember that tagline? The Social Network isn’t just about Facebook. It’s about ego, betrayal, and what happens when a smart kid builds something massive without realizing the cost.
Jesse Eisenberg plays Mark Zuckerberg like a robot running on caffeine and spite. Andrew Garfield breaks your heart as the friend left behind. And Aaron Sorkin’s script? Every line is razor-sharp. David Fincher directs like it’s a thriller, and honestly, it kind of is.
This is the rare “tech movie” that still feels vital. It’s not about code. It’s about power. And what you lose chasing it.
The Man Who Shot Liberty Valance (1962)
This one’s old-school in the best way. John Ford’s The Man Who Shot Liberty Valance is a Western that’s less about guns and more about truth—and the myths we build to survive it.
Jimmy Stewart plays the city-slicker lawyer. John Wayne is the gruff gunslinger. Together, they face off against Liberty Valance, a thug who rules with fear. But what really sticks is the twisty story that unfolds in hindsight—who really pulled the trigger, and why that version of the story matters.
If you like your Westerns with moral ambiguity and emotional weight, this is the blueprint. Come for the showdown, stay for the existential crisis.
Past Lives (2023)
This one’s quiet, but it’ll stay with you. Past Lives follows Nora and Hae Sung, childhood friends separated when Nora’s family leaves South Korea. Twenty years later, they reconnect in New York, and it’s… complicated.
There’s no screaming match. No dramatic kiss in the rain. Just a tender, aching look at love, timing, and the lives we don’t get to live. Greta Lee and Teo Yoo give performances so grounded, you forget you’re watching a movie.
It’s about fate. Regret. And the haunting idea that some people are part of your story, even if they’re not in your ending. If you need a good cry—or a quiet night of reflection—this one’s waiting.
And That’s a Wrap
So that’s your Paramount Plus playlist—ten films that don’t just pass the time, they leave a mark. Whether it’s a summer romance that burns slow (Call Me by Your Name), a jazz showdown that hits like a punch (Whiplash), or a Western that rewrites its own legend (Liberty Valance), every one of these stories has some real staying power.
You’ve got existential dread (No Country for Old Men), courtroom crises (Michael Clayton), pixelated nostalgia (Console Wars), and love that spans decades (Past Lives). Some are loud. Some are intimate. All of them make you feel something—and honestly, isn’t that the point?
If your watchlist’s been a little dusty, here’s your sign to mix it up. Choose something new. Revisit a classic. Hit play on something that lingers after the credits.
