So you’re stuck in scrolling purgatory again, huh? Endlessly thumbing through Peacock, 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.
Dog Man (2025)
This one’s a riot. Dog Man is DreamWorks’ latest chaotic gem—based on the mega-popular Dav Pilkey books—and it’s every bit as weird and hilarious as it sounds. Imagine a half-dog, half-human cop chasing down a crime-committing cat voiced by Pete Davidson, and you’re already halfway to understanding the movie’s brain. Add in absurd gags, heartfelt moments, and surprisingly good animation, and you’ve got a family comedy that actually delivers.
It’s got that sweet spot energy: loud enough for kids, clever enough for grown-ups. The jokes land fast, the visuals pop, and even the emotional beats (especially around Li’l Petey) hit harder than you’d expect from a movie where a dog wears a badge.
If you’ve got young ones—or just want to turn your brain off and laugh—Dog Man is a solid pick. Just maybe prep your kid to ask for the books immediately after.
Sophie and the Rising Sun (2016)
This one’s a quiet heartbreaker. Sophie and the Rising Sun takes place in a sleepy South Carolina town on the brink of WWII, where a gentle romance blossoms between a white woman and a Japanese man, just as Pearl Harbor changes everything. Julianne Nicholson plays Sophie with quiet strength, while Takashi Yamaguchi brings grace and warmth to Mr. Ohta, her soft-spoken love interest.
What unfolds is less about sweeping declarations and more about whispered moments, stolen glances, and the looming threat of violence when a town turns inward out of fear and ignorance. It’s tender, tragic, and beautifully filmed.
If you liked The Guernsey Literary and Potato Peel Pie Society or The Remains of the Day, this one fits right in—small in scope, big in emotion.
Little Pink House (2017)
It’s the American Dream versus bulldozers. In Little Pink House, Catherine Keener plays Susette Kelo, a Connecticut nurse who suddenly finds herself fighting for her neighborhood—and her home—when the government tries to seize it for a corporate development deal. What starts as a local zoning issue turns into a Supreme Court showdown over eminent domain.
Keener nails it as a woman who never wanted to be a hero, just someone left alone to live her life. The film itself is scrappy, honest, and low-key inspiring. It’s not flashy, but it doesn’t need to be—because the story is real. And outrageous.
If you’re into true David vs. Goliath stories like Erin Brockovich or Norma Rae, this one’ll get your blood up.
Happy Gilmore (1996)
An oldie, but still a very loud goodie. Happy Gilmore is Adam Sandler in full chaotic mode as a failed hockey player who takes his slapshot to the golf course—and somehow, it works. It’s peak ‘90s dumb comedy, filled with screaming, fighting, and one of the best movie villains ever in Shooter McGavin (played to absolute perfection by Christopher McDonald).
The plot is simple: Happy needs to win a golf tournament to save his grandma’s house. What happens instead is a mess of golf rage, fistfights, and a few surprisingly sweet moments. Sandler’s energy is wild here, but it’s also weirdly lovable.
If it’s been a while, rewatch it. If you’ve never seen it… what are you even doing? This is essential Sandler.
Tater Tot & Patton (2017)
This one slipped under the radar, but it’s worth tracking down. Tater Tot & Patton is about Andie, a city girl escaping to the middle of nowhere South Dakota—and the uncle (Patton) she’s forced to live with, who’s about as emotionally available as a rock. They’re stuck with each other, and what starts out tense and awkward slowly becomes something quiet and kind.
There’s not a lot of plot here—just long silences, empty fields, and two people trying to figure each other out. But it works. It’s a character study wrapped in denim and prairie sky, and it’ll hit you if you’ve ever tried to talk to someone who just doesn’t do talking.
If you liked Nebraska or The Straight Story, this has that same meditative, slow-burn heart. Plus, it’s got the kind of ending that sneaks up on you and sits with you after.
June Again (2020)
This one’s a tearjerker—with bite. June Again follows a woman who unexpectedly comes out of a years-long fog caused by dementia, only to find her adult kids and old life in total disarray. So what does she do? Jumps right back in and tries to fix everything. It’s sweet, chaotic, and a little messy—just like family.
Noni Hazlehurst gives a knockout performance as June: part meddling matriarch, part comic whirlwind, part heartbreak waiting to happen. The story’s got its heavy moments, but it’s also warm and funny in ways that feel totally earned. Think Still Alice meets The Farewell, but with an Aussie accent and a streak of romantic rebellion.
If you’ve ever tried to help someone who means well but does too much, this one will hit close.
Yosemite (2015)
This one’s small, but it has a pulse. Yosemite centers on three kids who set out to track a mountain lion supposedly roaming their neighborhood. But it’s not really about the lion. It’s about that moment in childhood when the world starts to feel both bigger and scarier than you thought.
There’s an undercurrent of loss and loneliness here, wrapped in the freedom of wandering through woods with your friends and thinking you might find something wild. It’s got that Stand by Me or The Kings of Summer vibe—equal parts nostalgia and coming-of-age clarity.
If you’re into quiet, reflective stories with a nature backdrop and real emotional stakes, this one’s worth a look.
Bottom of the World (2017)
This is one of those movies where you finish and immediately go, “Wait—what just happened?” Bottom of the World starts out as a road trip romance with Jena Malone and Douglas Smith. But when she vanishes in a dusty desert town, things spiral into a surreal, dreamlike rabbit hole of alternate realities and lost identity.
It’s moody, atmospheric, and deeply confusing—in a way that’s either hypnotic or frustrating, depending on how you feel about puzzles with no clear answers. Think Lost Highway meets The OA, with a hint of Mulholland Drive.
If you like your movies cryptic and unsettling, and don’t mind a little ambiguity, give it a shot. Just don’t expect clean answers.
Double Blind (2024)
This one’s pure nightmare fuel—in the best way. Double Blind throws seven strangers into a locked-down drug trial with one rule: don’t fall asleep. If you do, you die. No one knows why the side effects are getting worse, and trust? Out the window. It’s like The Breakfast Club, if the breakfast was laced with fear and everyone slowly turned on each other.
Millie Brady plays Claire, the one person trying to hold it all together while everything spirals. Pollyanna McIntosh (The Walking Dead) shows up with a serious “trust me, I’m a doctor” menace. The whole thing is sweaty-palmed, slow-building dread—the kind that settles in and refuses to leave.
If Circle, The Platform, or It Follows are your kind of weird, this one belongs on your list. Just… maybe don’t watch it right before bed.
And That’s a Wrap
So yeah, that’s your Peacock lineup—ten picks that zig where you expect a zag. You’ve got a dog cop saving the day (Dog Man), a Supreme Court drama wrapped in pink siding (Little Pink House), and a sleep-deprivation thriller that’ll make you think twice about that late-night nap (Double Blind).
There’s something here for every mood: quiet love stories (Sophie and the Rising Sun), underdog chaos (Happy Gilmore), family drama with heart (June Again), and a couple of indies that’ll leave you asking, “What did I just watch?”—in a good way.
So whether you’re settling in for something warm and familiar or ready to take a risk on something weird and unforgettable, this week’s picks have you covered. Pop some popcorn, grab the remote, and dive in. You never know which one’s going to stick with you.
