After reportedly setting fire to a sleeping subway commuter in New York early on Monday morning, a high school senior was charged with federal arson.

The Department of Justice announced on Friday that Hiram Carrero, 18, was charged with arson resulting in injury after authorities claimed he burned a piece of paper and dropped it close to a 56-year-old man on a northbound 3 train nearing 34th Street–Penn Station.

According to a security photo included in the release, the man then staggered onto the platform at 42nd Street–Times Square, where his torso and legs can be seen burning.
According to a criminal complaint, Carrero momentarily boarded the train before escaping and riding a bus to Harlem. According to the Associated Press, he was arrested on Thursday in Harlem, where his lawyers claimed he resides with his mother, who is disabled, and serves as her primary caregiver.

This incident is the most recent in a series of attacks on public transportation in US cities in recent years, with victims—including train employees—intentionally set on fire, most notably in New York and Chicago.

After prosecutors appealed another magistrate’s decision to release Carrero to home confinement under his mother’s supervision, US District Judge Valerie E. Caproni ordered him jailed, noting the “heinousness of the crime,” according to the AP.
According to the AP, Assistant US Attorney Cameron Molis stated, “The victim very well could have died in this case.”

At his appearance in federal court in Manhattan, Carrero was not obliged to enter a plea. According to the AP, his mother was present at the arraignment but declined to talk to reporters.

While acknowledging that “the allegations are extremely serious,” Carrero’s attorney Jennifer Brown maintained that he is a “very young man with no (criminal record) and a mother willing to take him in.”

According to a statement from US Attorney Jay Clayton, “the New York City subway is the heart of our city, with millions of people who live and work here relying on it every day.” A. “
We’re keeping up a steady pace as we rock Jingle Bell through December. Choosing what to watch next can be difficult with so many films coming and going from the top streaming services, particularly with Netflix adding an astounding 43 new series and films to its library this month.

I’ve discovered that looking at Netflix’s top 10 list of most-watched films is the greatest method to rapidly cut through the clutter. Granted, a movie isn’t always worth seeing just because subscribers are talking about it. I’m here every weekend to highlight the highlights from the overhyped duds because of this.
This week has an earworm-filled animated adventure from the crew behind the “Spider-Verse” flicks, as well as one of my favorite films of the year thus far—an opulent comedic drama starring George Clooney and Adam Sandler.

Do you not feel any of these movies? Check out our guide to everything new on Netflix this month for even more streaming suggestions. Without further ado, let’s explore the top 10 Netflix films that you really must see.

This article is based on Netflix’s list of the top ten American films as of Saturday, December 6, 2025, at 12:00 p.m. ET.
“Caught Stealing” is among the best action films I’ve watched in a very long time. It resembles a crime thriller version of “The Hangover” with a schmuck who can’t seem to get a break. This film is absurd in the nicest way possible: Matt Smith lets his strange little guy flag fly, someone’s surgical staples are pulled out to the tune of “Take Me Out to the Ball Game,” and Bad Bunny portrays a gangster too shy to get his hands dirty.

A washed-up former sticks player, Hank Thompson (Austin Butler) now spends his days in New York City working at a neighborhood dive bar, making frequent calls to his mother, and getting to know his new girlfriend (Zoë Kravitz).
Adam Sandler may receive his first Oscar nod for Best Supporting Actor in March thanks to Netflix’s most recent film, “Jay Kelly.” Alongside co-star George Clooney, he practically steals every scene in Noah Baumbach’s self-aware comic drama, which is an openly self-indulgent critique of Hollywood.

In the starring role, Clooney plays Jay Kelly, an aging film icon (yes, the winks are deliberate) who is about to embark on a project that could revitalize his waning career. He embarks on a convoluted path of self-discovery when he leaves for Europe to reunite with his estranged daughter, defying the advice of his longtime manager (Sandler).
Johnson’s performance in the title role, which is taken from the 2002 HBO documentary The Smashing Machine: The Life and Times of Extreme Fighter Mark Kerr, is truly innovative. Even while the actor has always been a wonderful on-screen personality, few would have argued that he disappears into his roles. He plays either fatherly, beaming Dwayne Johnson or butt-kicking, quipping The Rock, his old WWE alter ego, depending on the project. Johnson seems to have run out of steam with predictable roles in Jungle Cruise (2021), Black Adam (2022), and two mediocre, unrelated blockbusters with the word “Red” in the title (Red Notice in 2021 and Red One last year). But the actor demonstrates to audiences
MMA fighter-turned-actor Ryan Bader, who plays Kerr’s trainer, and his Jungle Cruise co-star Emily Blunt, who plays Kerr’s partner Dawn Staples, are supporting Johnson. The three have a dynamic energy, and Bader establishes himself as a true star in the making. Blunt, who is always terrific, gives a role that is hardly described on paper depth and vitality. Though it’s a little concerning that this is where Blunt’s career has currently rested, there may be no one better at bringing vitality to a potentially unappreciated supporting character than she did in Oppenheimer. The remaining members of the group, who are primarily unknown and non-actors, ring with brio and realism.
The Smashing Machine’s box office performance is still up in the air, but it’s likely that its reputation will only increase in the months and years to come, even as its initial excitement gave way to a rush of somewhat disappointing reviews. It’s a kind but far from sterilized movie, the kind of touching and motivational sports picture that is rarely produced these days. Regardless of whether Johnson wins an Oscar or a few other honors, The Smashing Machine marks the beginning of a new chapter in his career and offers an intriguing look at what lies ahead.