Has there been a more spoken-about acting name in recent months than Sydney Sweeney? For better or for worse — with Sweeney’s performance often being the ‘better’ — Euphoria‘s third season has been on everyone’s lips, and remained as the most-watched show on HBO Max since it returned. However, a show once praised for breaking boundaries now faces criticism for creator Sam Levinson‘s shift from emotional resonance to disrespectful shock. That, plus the fact that the likes of Sweeney, Zendaya, Hunter Schafer, and Jacob Elordi have all outgrown the show, has no doubt contributed to Euphoria coming to an end entirely.
For all the disappointment Euphoria Season 3 has brought, it has at least opened some eyes to the breadth of work outside the show from its many talented young stars. No doubt thanks to Euphoria‘s popularity, fans have been moving over to Apple TV to check out one of Sweeney’s most underrated performances. In 2025, The Housemaid star released another thriller in the form of Echo Valley, which received a limited theatrical run before streaming on Apple TV in June.
Produced by Ridley Scott and directed by Encounter‘s Michael Pearce, the movie also starred the great Julianne Moore, Domhnall Gleeson, and Fiona Shaw, with the latter also starring in the current Netflix smash Ladies First. Although the film received mixed reviews, Collider’s Jeff Ewing enjoyed Echo Valley, writing that the movie “explores the terrible potential of unconditional parental love, mining it for a harrowing and surprising tale.” A year on, and Echo Valley has returned to the streaming charts and is the most-watched movie on Apple TV in the U.S., at the time of writing.
Collider Exclusive · Oscar Best Picture Quiz Which Oscar Best Picture Is Your Perfect Movie? Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
01
What kind of film experience do you actually want? The best movies don’t just entertain — they leave something behind.
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What’s yours?
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
05
What do you want from a film’s ending? The final note is the one that lingers. What do you want it to sound like?
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what’s even possible.
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
The Academy Has Decided Your Perfect Film Is…
Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works.
Parasite
You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho’s Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it’s ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image.
Everything Everywhere All at Once
You want it all — and this film gives you all of it. The Daniels’ Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn’t want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it’s about.
Oppenheimer
You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan’s Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort.
Birdman
You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it’s about. Alejandro González Iñárritu’s Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor’s ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn’t be possible. Michael Keaton’s performance and Emmanuel Lubezki’s restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all.
No Country for Old Men
You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers’ No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be.
‘Echo Valley’ Has Put an End to ‘F1’s Reign
Echo Valley‘s rise to the Apple TV summit has ended the streaming reign of another summer 2025 release, one that received much more commercial and critical acclaim. Brad Pitt‘s pulse-racing sports story F1, directed by Joseph Kosinski, earned a massive $633 million worldwide at the box office, becoming the highest-grossing original movie of the year and Apple Original Film’s highest-grossing theatrical release of all time. The film also won the Academy Award for Best Sound during its run as one of the most-streamed movies in the world.
Echo Valley is a streaming hit on Apple TV. Make sure to stay tuned to Collider for more streaming stories.
Release Date
June 13, 2025
Director
Michael Pearce
Writers
Brad Ingelsby
Producers
Kevin J. Walsh, Ridley Scott, Brad Ingelsby, Michael A. Pruss
