Here are Cinephile Corner’s 10 recommendations for movies like Reminders of Him:
Players
Players is comfortable with just existing rather than flourishing and finding new territory to cover in this expansive romantic comedy genre of movies. Netflix’s latest film is just as light and unremarkable as nearly every other one that they’ve produced. Gina Rodriguez and Damon Wayans Jr. co-star in lackluster, windless entry.
Hamnet
Hamnet is uneven, sometimes too tidy and sometimes too hushed, yet it closes with a knockout. Jessie Buckley gives a performance that reframes everything around it, and Paul Mescal matches her once the material lets him. The last act is worth the price of admission on its own, a clean and crushing argument for how art can hold the unsayable.
Love, Brooklyn
Love, Brooklyn starts light on its feet and mostly stays that way. I liked watching André Holland drift through the borough as Roger, a writer dodging a commission about Black history and Brooklyn culture while splitting his time between two relationships. One is with his ex Casey, played by Nicole Beharie, and the other is with Nicole, played by DeWanda Wise. Everyone knows where they stand. There are no secrets. The dynamic feels modern and unusually honest for a romance, which gives the film a soft charge even when it keeps things quiet.
Crossing Delancey
Crossing Delancey is the kind of romantic comedy that remembers what adulthood feels like. Joan Micklin Silver builds a world so specific that it becomes universal, a New York where bookstores, delis, and family kitchens carry as much weight as flirtations. The movie sits alongside the late eighties high points, close to Moonstruck and When Harry Met Sally…, yet it leans a little more serious and a little more tender.
Regretting You
Regretting You is the latest Colleen Hoover adaptation to arrive with a lot of built-in melodrama and almost no ability to make that melodrama feel earned. After the infamous chaos surrounding It Ends With Us, I hoped this would at least land as a clean, competent tearjerker. Instead it plays limp and strangely confusing, a movie that keeps insisting it is devastating without ever giving the relationships enough shape for the devastation to hit.
The People We Meet on Vacation
Netflix has built a steady assembly line of soft rom-coms over the past few years, and People We Meet on Vacation fits the template almost too cleanly. It is an adaptation of Emily Henry’s novel, glossy and travel-poster pretty, with luxurious vacation spots doing a lot of the heavy lifting. Brett Haley has made sweeter, more grounded work in Hearts Beat Loud and All the Bright Places, but this one feels Netflix-ified into something airless and mechanical, like it is engineered to be left on in the background rather than actually watched.
Materialists
Materialists feels like a transitional work. It shows Celine Song experimenting with scale, ensemble dynamics, and new narrative textures—but it lacks the intimacy and precision that defined her first film. It’s a movie with moments that flirt with those same highs in small doses, but one that ultimately falls short. Still, it leaves me hopeful: the emotional territory Song wants to chart is rare in contemporary cinema, and while Materialists stumbles, it’s a sign that she’s aiming high. Her best films are likely still ahead.
Preparation for the Next Life
Bing Liu’s Preparation for the Next Life is a patient, unvarnished drama about two people trying to build a life together with nothing to fall back on. After the nonfiction clarity of Minding the Gap, Liu shifts to narrative without losing the documentary instincts that made his debut so piercing. You feel that in the way the camera lingers on kitchens in Chinatown, cramped rooms, and the small rituals of work and survival. The story is familiar, yet the texture is specific.
Punch-Drunk Love
Paul Thomas Anderson’s Punch-Drunk Love is the rare romantic comedy that hums like a live wire. The movie finds Anderson collapsing love and rage into the same nervous system, paring down the sprawl of Magnolia to something smaller, stranger, and sharper. The film’s scale is modest compared with Boogie Nights or There Will Be Blood, but its voltage is unmistakable—an anxious fairytale painted in glowing blues and reds, propelled by Jon Brion’s jittery, percussive score and bursts of abstract color.
Fly Me to the Moon
Rumor has it that Apple is stepping away from theatrical releases for their original movies, and the lukewarm reception of Greg Berlanti‘s Fly Me to the Moon may be a big reason why. Starring Channing Tatum and Scarlett Johansson, this romantic comedy set against the backdrop of the U.S.-Soviet space race seemed poised for success. It had all the ingredients for a financial hit: big stars, a pastiche-heavy style, and the kind of premise that could benefit from strong word-of-mouth. Yet, it never gained traction.
READ MORE: Reminders of Him (2026), Movies Like Regretting You, Movies Like You, Me & Tuscany
