Here are Cinephile Corner’s 10 recommendations for movies like Good News:
Carry-On
Jaume Collet-Serra wouldn’t seem like the next director to add to that list, given his recent track record with disappointing Dwayne Johnson vehicles like Jungle Cruise and Black Adam. However, his holiday thriller Carry-On defies expectations, moving quickly and building enough tension to make it a surprisingly worthwhile entry in the Netflix action canon.
The Favourite
The Favourite sees director Yorgos Lanthimos recontextualizing 18th-century British royalty. A searing dark comedy featuring many of 2018s’s best performances, including Olivia Colman, Emma Stone, and Rachel Weisz.
One Battle After Another
Paul Thomas Anderson’s One Battle After Another is a movie of firsts that never feels tentative. It is his first modern-set feature since Punch-Drunk Love, his first collaboration with Leonardo DiCaprio, and his first film of this scale, reportedly in the $130 to $175 million range. What is not new is the command. From the first explosion to the last chase, this is PTA in full control, turning a feverish political thriller into one of 2025’s most purely thrilling big-screen experiences.
Read our full review of One Battle After Another
The Grand Budapest Hotel
The Grand Budapest Hotel stands as one of the most ambitious and widely celebrated films in Wes Anderson’s career—a visual symphony of symmetry, color, and control. It marked a turning point for Anderson, both critically and stylistically, encapsulating nearly two decades of his evolving artistry into one meticulously crafted package. While it’s easy to see why The Grand Budapest Hotel has been called the quintessential Wes Anderson movie, there’s something about its ornate façade and heavily curated design that, for some viewers, keeps it just out of emotional reach.
Triangle of Sadness
Although it’s visually pleasing and pretty refreshing at its peak moments, Triangle of Sadness doesn’t come together as tight as it should. For many filmmakers, winning a Palme d’Or would be a reason to stay the course for the foreseeable future, but Ruben Östlund keeps audiences guessing. He didn’t hit a home run here, but I can surely admire the effort and vision that he is trying to complete. It probably won’t compete for many awards this upcoming season, but I imagine Östlund will be back for a vengeance.
Mickey 17
Following up Parasite was never going to be easy for Bong Joon-ho. The 2019 film was a global phenomenon, breaking language barriers at the Academy Awards and cementing Bong as one of the most exciting directors of his generation. With Mickey 17, his first film since that historic win, he dives headfirst into sci-fi, adapting Edward Ashton’s 2022 novel Mickey7 with an all-star cast that includes Robert Pattinson, Naomi Ackie, Steven Yeun, Mark Ruffalo, and Toni Collette.
Downsizing
While Downsizing boasts flashes of brilliance in its performances and premise, its uneven tone, muddled message, and narrative missteps ultimately leave Alexander Payne‘s 2017 satire feeling like a missed opportunity.
The Menu
A mixed bag of ideas and food for thought, Mark Mylod‘s The Menu still excels with winking characters and great visual design. The movie struggles to establish much beyond its own genre beats, but that doesn’t take much away from the crowd-pleasing journey the film goes on.
Parasite
Every few years, I revisit Parasite and find myself wondering if I’ve been underrating it. It’s a movie that feels so omnipresent in conversations about the best movies of the 21st century that it’s easy to take its greatness for granted. But every rewatch reminds me exactly why Bong Joon-ho’s international juggernaut remains one of the most important films of the last decade—both as a razor-sharp thriller and a scathing critique of class dynamics that continues to feel disturbingly relevant.
American Fiction
Cord Jefferson’s first movie, American Fiction, didn’t blow me away, and I was hoping for a more cohesive film to get me excited about his big themes and sensibilities. A few stylistic choices are pleasant on the eyes, and the performances from Jeffrey Wright and Sterling K. Brown are worthy of their acclaim, but the final product is a lackluster satire.
