It’s that time of year again to take a look back at everything I watched this year, from streaming exclusives to theater experiences. Unfortunately, I didn’t get to nearly as many as I did last year (mostly because I used to be at a job where I could watch movies all day), but I did try to squeeze in as many as I can. Feel free to jump through the list, and be sure to check out some select films that have a link to a great cocktail inspired by the film underneath the review!
Jump to the TOP 10 MOVIES OF 2025
#74. War of the Worlds
When you hear a movie is terrible, you think that could mean a few things. Maybe it’s boring, underdeveloped, poorly executed, a complete waste of time. It’s very rare that a film fulfills all of those sentiments, but every once and a while, you’re graced with a real Triple Crown stinker. One that is not only bad, but potentially had all the tools and resources it needed to make something at least passible, yet still tripped right out of the gate and continued to haphazardly stumble all the way to the finish line. There is no film that embodies that sentiment more than 2025’s War of the Worlds.
I’m not trying to overexaggerate; nothing works about this film. Every actor feels like it’s either their first time being on camera or doesn’t even want to attempt to make any of the nonsense in the script work. Each line of dialogue is more painful for the last, failing to establish any meaningful emotion, comedy or proof that this wasn’t actually written by aliens. Setting the entire film over video calls while still trying to be big and bombastic was a dead on arrival concept, as nowhere in this film does the structure feel like it ever adds anything of note to the tension or storytelling. I genuinely don’t think I’ve ever seen a film where I can see a poorly keyed-out ring of color around the special effect assets multiple times. I’ve seen straight to DVD movies with better quality control than this thing.
Amazon product placement.
There is nothing intentionally redeeming about this movie; not one, single, solitary thing that made me go “well, at least the film has that”. This film is unequivocally, uncontestably one of the worst films, not only of this year, but of the last decade. Hell, maybe even of the modern era. And I had a great time watching it.
It is truly a car crash that you need to see to believe. I was pulling out my hair because of how maddening this film got, but I also found myself laughing a ton at the sheer incompetence on display here. How in the holy hell Amazon and Universal Pictures ever allowed this thing to release in this state is beyond me, but there’s a very tiny part of me that is glad they did. I’ve said time and time again that a movie getting made is a genuine miracle, as there are so many hurdles and roadblocks you have to maneuver around just to get off the ground, and anyone that’s able to make it happen forever earns my respect. But oh, does the length of my respect get tested, and while War of the Worlds may have only warranted the same respect you give to your turds, it still gave me a fun watch, so I have to thank it for that.
Rating. .5/5
#73. Hurry Up Tomorrow
Weeknd, buddy, it’s like you’re trying to make it impossible for me to root for you. I’m a big fan of his music and the way he’s been able to craft interesting aesthetic and narratives through them, but his outings on screen have had me seriously questioning what he’s capable of. The Idol was an embarrassing mess, but Abel knew in his heart of hearts that he could make something just as, if not much worse. Hurry Up Tomorrow, the companion film for the album of the same name, is just that. It’s an incredibly vapid, uncritical psychological thriller that tries to convince you that the music star is being dissected and his soul is being laid bare, but that’s far from the truth. From the way it flows to the way it’s shot, it comes off incredibly vain and pretentious while forgetting to add some actual worthwhile reflection to justify its self-centeredness. There’s no true vulnerability here, despite all the crying and whining the Weeknd does in this film. Other stars like Barry Keoghan and Jenna Ortega are fumbled and misused, only hurting their own stocks rather than managing to be the one good thing about the film. Sure, it can be visually interesting and audibly off-putting at times, but when it’s at the service of nothing, I’m not going to be unnerved, I’m gonna be pissed off. This album was in my top five on Spotify Wrapped, but this movie lands damn near close to being the worst film I saw this year.
Rating: 1.5/5
#72. Five Nights at Freddy’s 2
I couldn’t even begin to have the highest of hopes for this based on my lukewarm reception to the first. But I still held out hope that the filmmakers would recognize the weakness of that prior film and find ways to work around them in order to birth something that could resemble a good movie rather than just a collection of scenes that will appease fans. If you’re at this part of the list, you can probably guess which option they went with. But even still, this just feels like an insult to the fans, as the final product seems convinced good writing and genuine scares are not what the average FNAF fan is looking for. And you know what, maybe they’re right, but that doesn’t stop this from being a lowly example of Blumhouse horror that does the bare minimum to get by without remotely trying to be scary, unnerving or entertaining.
Rating: 1.5/5
#71. Snow White
It’s been really tricky to talk about this movie without acting like I’m aligning myself with the loud, reactionary mouth breathers that get pissy about every little deviation an interpretation takes when adapting an old story. I’ve never wanted a live action adaptation to be exactly like the source material, because what’s even the point? Do something different than just going from 2D to 3D, I say. That being said, this still isn’t a good movie. In fact, it’s perhaps the worst live action Disney film to date. With all the room to take the simple, straightforward story of Snow White and expand upon it, this film does nothing memorable or interesting enough to justify its existence. Rachel Zegler, for all the crap she’s received from this film, is honestly fine. She lands the singing and does what she can with the script, which is certainly doing her no favors. Gal Gadot, on the other hand, is actually terrible. She looks the part, but never manages to be menacing or have a commanding screen presence throughout. The dwarves are rubbery nightmares that are an eyesore to look at and always feel so far removed from whatever setting they’re in. It’s unfortunate that the only things that beg to be remembered are the bad bits, because the rest of the film, from its flat themes about fighting oppression to the clashing and unmemorable original songs, refuse to leave an imprint in your mind. It’s certainly a film that deserves to be disliked, but good God, can we detest it for its actual merits rather than whatever the latest social media shitstorm is?
Rating: 1.5/5
#70. Grafted
Talk about a film that worked overtime to really lose any goodwill I had for it from the beginning. I enjoyed it at first because of its cheesy, kitschy, B-movie silliness, but it eventually throws sense out the window while also weirdly feeling like it was taking itself too seriously. I think the film makes a big narrative decision that just doesn’t work given the budget, but if the film were to have really doubled down on its absurdity, it probably could have worked. The idea of walking around in someone else’s skin is rife for commentary and parallels to be drawn, but this just doesn’t have the narrative muscles to utilize the concept to the fullest potential. The effects are pretty solid but a lot of the performances can be downright bad at times, and not in a super endearing or memorable way. It hurts me to put a genre film like this so low, and maybe others will see something I didn’t, but this annoyed me far more than it entertained me.
Rating: 2/5
#69. Jurassic World: Rebirth
The stagnation of some of Hollywood’s most beloved IPs is nothing new, but it does sting all the more when players you genuinely enjoy are attached. Gareth Edwards, for all his technical talent, just can’t seem to nail a narrative win, and this latest re-heating of dinosaur meat from the past is perhaps his weakest outing to date. In an attempt to simplify and go back to basics, Jurassic World Rebirth has consequently forgotten to present anything new that warrants you wanting to watch this over the original or any of the others in the franchise. Devoid of any human identity and coasting off admittedly beautiful visuals, Rebirth is the kind of safe, nothing movie that will no doubt succeed at the box office off of name recognition alone, but will struggle to find a space in any corner of your mind. I just cannot understand how these aren’t better. It shouldn’t be that hard, and yet here we are. This is less of a rebirth and more of an afterbirth; the discarded waste left behind by an actual miracle that you should probably pay more attention to instead.
Rating: 2/5
#68. Captain America: Brave New World
While an admittedly decent year for Marvel, the film they probably needed to work the most ended up being not only their worst offering of the year, but one of their worst by and large. Right now the highest compliment I can give this film is “competent”. Despite its lack of originality or style, it’s not outright terrible. Other than a few CG backgrounds, the film looks fine for the most part, and the narrative is structured in a way where it’s at least always moving along. But “competent” is a word I should be using for a first time director’s indie film, not the 35th film in a multi-billion dollar franchise. Captain America: Brave New World is further proof of a long running problem with Marvel; they’re more interested in throwing money at big name actors rather than creative minds looking to tell creative stories. They’ve backed themselves into a corner where they have so many characters and continuities to manage that they can’t afford anyone to try anything bold or, dare I say, brave. The characters are flat action figures flown through bare-bone narratives that are too afraid to offer any real humanity or reflections of the world we live in. It’s mostly watchable, but so are most things you’ll find at the theaters. I remember a time when that wasn’t the case for the MCU, but I don’t think that’s gonna change anytime soon. In conclusion, Brave New World is the same old shit.
Rating: 2/5
#67. The Woman in the Yard
I watched this mostly because it had a very similar setup to a script I wrote back in 2018 that’s been floating around in the festival circuit for a few years now and wanted to see if my heart was about to break. I’m happy to report my heart is very much intact. Still, this annoyed the hell out of me for how slow and uninteresting this managed to be, following a cast of poorly written and unappealing main characters. It never really lands its haunting visuals, relying on cheap, loud noises to catch you off guard without really unnerving you. And while it mostly looks okay, this specific trend of shallow focus just makes it look like an eyesore at times. It actually started to peak my interest in the third act, but like the preceding chunk, it meanders and drags its feet to get where it’s going, and where it’s going isn’t all that pleasant. Not super sure what it was trying to get across aside from “grief is the real horror”, which we’ve seen 100 times at this point. I’d almost respect the choices made at the end if they were handled with even the tiniest bit of nuance or maturity. This had the chance to be a little ballsy, but with Blumhouse at the helm, all it can be is balls.
Rating: 2/5
#66. Americana
This may be the new west, but man, does this feel like every other half-baked, Coen Brothers chasing modern western that came before it. While there’s some interesting ideas here and there (a little white kid believing himself to be the reincarnation of Sitting Bull certainly perked my ears), everything is told so blandly and by-the-numbers that I just couldn’t engage with these characters as people rather than genre archetypes. Things move so slowly as it pretends to be this grounded, salt of the Earth story, but every word spoken feels like it was pulled from a parody of the genre. Perhaps having a brain damaged Paul Walter Hauser and an overexaggerated, stuttering Sydney Sweeney weren’t the best picks to drive this story. Even its big showdown with all of its storylines converging is boring, having never really given you a thing to care about by the time bullets start to fly. A passable watch, but one that lacks the grit and flare needed to spice up the dry, dry desert.
Rating: 2/5
#65. Heart Eyes
Romance might not be dead, but this kinda got me thinking the conventional slasher genre might be. Despite thinking this film is just fine, I still see the potential in this to entertain audiences. It delivers on more holiday themed horror that many seem to enjoy, with a twisted cupid ripping the hearts out of as many lovers as he can. The leads are charming, even if their chemistry didn’t always work for me, and the kills are at least a bloody good time that I just wish we got to see more of. It’s not going to rejuvenate the slasher genre or make you view the holiday through a different lens, but I wouldn’t call it a slog if you’re looking to have a decent, short watch with your boo and/or bae.
Rating: 2/5
#64. The Gorge
A premise so intriguing that you just know there’s no way the payoff is gonna pull through. This goes from a military mystery to a YA meet cute to an action horror film in the span of an hour, and not all of those things work. I think the film is at its best when there was a sense of dread and mystery, but the film quickly plays its whole hand and leaves us with another hour of so-so special effects and rubbery looking CGI monstrosities. I don’t mind that there’s a bit of a romance to this, but the rate at which they throw away all of their secrecy and fortitude for a little fling without a hint of paranoia felt like the film was rushing to get to the “good stuff”. Some of the action is fairly cool and I like both of the actors, but the film forgoes a fun, potential-filled setup for a shockingly bland payoff. Two days of that tower nonsense and I’m turning the rifle on myself.
Rating: 2/5
#63. The Alto Knights
One of those films where you leave not entirely convinced you saw anything happen. There’s some halfway decent performances in this, with de Niro of course being ever reliable. I wish the idea of having him play both men felt a little more entwined in the story, but each performance at least had its own distinct nature to it, even though Vito kinda felt like it was written for Joe Pesci. Also can’t ignore the absolute unit of a neck they put on one of those actors. I shouldn’t have been as transfixed on it as I was, but I was grasping at anything to keep me engaged. While it did make me laugh at times, especially with a scene of mobsters clumsily running through a muddy farm, this doesn’t really do anything new with the mobster genre, neither in its themes or executions. It doesn’t even really succeed at playing the hits, unless you consider the hits to just be fast talking Italian shenanigans. This one will probably go hard in the retirement home.
Rating: 2/5
#62. The Map That Leads to You
I don’t have a good reason for why I decided to watch the 1,000th YA book-to-film adaptation (honest to God might have just been autoplay), but I was weirdly kinda invested in this at first. Honestly, the flirting has its cute moments, and I’m a sucker for a romp around Europe. But my god, the “dying lover” trope is so overused and cliche and this has to be one of the most aggravating uses of it. It doesn’t really get into the real meaty emotional implications of this theme until the very end, so the film loses out on any interesting or resonating discussions about mortality and love. You might be thinking that I shouldn’t have been baited so hard by such a Lifetime Original Movie plot, but the first chunk of the film is good! It just doesn’t manage to tie everything up in a satisfying way by the end.
Rating: 2/5
#61. Honey Don’t!
Ironically enough, the title matches almost my exact sentiments towards whether or not this is worth watching. That’s a little harsh, but this gay crime drama from Ethan Coen and Tricia Cooke feels like such a step back from Drive-Away Dolls. Honey, Don’t’s! odes to crime noir feel like parody, its eroticism feels hollow, and its mystery is misconstructed. Outside of giving us a few good performances and some decent laughs, I don’t really know what this film was ultimately trying to accomplish. It isn’t terrible, but it’s a misfire that doesn’t end up being greater than the sum of its parts. It had everything seemingly tee’d up for it, but it just couldn’t land that swing. I never really was left wondering which of the Coen Brothers was the source of the talent, but man, I might be having some thoughts now.
Rating: 2/5
#60. Drop
There’s certainly something here with modernly-laced mystery, but for me, it didn’t all completely come together. It may straddle the line of reason at times, but Drop isn’t the worst thing you could throw on. The plot at least has a tinge of originality to it thanks to its integration of a modern day feature, and the cast does a decent enough job with what they’re given. It’s bound to not really shock you or give you a new view on the mystery thriller genre, but for what it’s worth, there’s still some decently silly fun to be had with this. The last thing I want is to sit through 90 minutes of Hitchcock and ball torture, so good job Blumhouse for not making me call you the bane of Hollywood this time around. With this, you’re less Bane and more…I dunno, the Ventriloquist.
Rating: 2/5
#59. A Minecraft Movie
Look, I won’t go so far as to call this movie good, but I’d be lying if I said it didn’t give me a halfway decent surprise. I wouldn’t really call this an endorsement for the movie, but there was definitely something there that I haven’t really seen in other video game movies. While occasionally suppressed, you can often tell that you’re watching a movie by the guy behind Napoleon Dynamite and Nacho Libre. When his style manages to shine through in the performances and the writing is when the film is at its best. But in a cruelly ironic turn of events, the film starts to suffer when its sole focus is being a Minecraft movie. Like I said, the building blocks are there for something like this to work, and often it did for me, but the film often gets its priorities jumbled when it simply wants to jingle keys in front of you rather than create anything worthwhile. The film will probably live on through ironic memes and whatnot, but isn’t it a shame it couldn’t just be remembered as a good movie? An attempt was made with an IP that gave them nothing story wise, and for what it’s worth, it could have been a lot worse. Like, way worse.
Rating: 2.5/5
#58. The Legend of Ochi
This may very well take home the award for my most disappointing watch this year. Truthfully, I just don’t know if this knew what it wanted to be. I think it’s far too slow paced for kids to enjoy, though the fantastic visuals are certainly an alluring worm on a hook. It may succeed at giving older audiences a hint of nostalgia through the vintage artistry at work, but nothing about the story is really going to excite them in the same way that the visuals do. Like I said, I’m so disappointed to find this isn’t the American- live-action, Studio Ghibli-esque film we probably all wanted, but there is still plenty to admire in it. I only hope that the filmmakers can see this as a learning experience and try again with that same craftsmanship while putting a bit more thought into creating a narrative that properly services the incredible effect work. And A24, please start re-evaluating what you put your money into. I know you saw the ochi and your first thought was making a $400 plushie that like 20 people will buy.
Rating: 2.5/5
#57. Locked
It’s an intriguing premise; a car thief is locked inside the inescapable car of a dying madman and must find a way to escape before he’s starved to death. For a film mostly set in just one, tight location, I thought the camera work was really well done, fluidly moving through the car while hardly ever feeling limited in its motions. The secular location definitely forced the filmmakers to get creative with their blocking and presentation, and I definitely respect the film for that. Bill Skarsgard is overall solid, and Anthony Hopkins manages to be fairly entertaining despite mostly just being a disembodied voice. But if you’re gonna be stuck in the same place all movie, you’re going to need a much stronger story to tie into it. There’s a lot of talk about class disparity going on here, but it doesn’t really play into the story too much, kind of just feeling like the film needed something to talk about to make this thing feature length. And because of the structure, it didn’t really find it all that tense, despite the booby trapped car being a fairly interesting setup. Not terrible, but nothing all that memorable either.
Rating: 2.5/5
#56. Wolf Man
Despite being one of the most infuriatingly shot films I’ve seen this year, Wolf Man is not a complete and total waste though. I do think the dread and slowly building anxiety of the situation can be pretty effective, and there’s a halfway decent attempt at connecting a pretty basic horror setup to a very real anxiety about inheriting the worst parts of our upbringing. But outside of that, you’re not going to find too much to get excited for. Lacking in both the charm to make this a bit of fun or the emotional maturity to really make this resonate, the film spends its slower moments failing to tap into the man, while the more high octane moments never really let the wolf run crazy. And Jesus, the visual style is at best competent and at worst unseeable. Even with all these complaints, it’s still one of the better Blumhouse movies to come out in a hot minute, so there’s a little victory for ya.
Rating: 2.5/5
#55. The Luckiest Man in America
While largely forgettable, the mere premise of the film builds enough intrigue that you don’t ever really feel like you’re wasting your time investing in it. Despite this, I found the overall delving into this kind of character to be particularly weak, only ever getting a surface level understanding of him despite all the hints to something deeper the film throws at you. Maybe this is to replicate the disconnect between player and audience, but I wouldn’t say that was the best choice thematically. Despite many parts of it falling flat, Paul Walter Hauser sincerely believes in it, and his enjoyment of the role really comes through and helps to elevate what would otherwise be a fairly disposable film you watched on a plane.
Rating: 2.5/5
#54. Clown in a Cornfield
Remember earlier when I said I thought the slasher genre felt like it was truly dead? Well, I still believe that, but believe it or not, this silly named, basic looking slasher film nearly got me to believe again. It manages to feel quite fresh at times despite being a very run of the mill premise. I actually think the script is a big strength to this film, managing to capture the right amount of camp that doesn’t try to be irony or meta laced. The characters and performances are a lot of fun, especially with Sasso and Durand. That being said, once the film shows its hand, you immediately know where it goes from here. The final act is fun but predictable, while the ending fell incredibly flat for me. Unfortunately, the kills, the bread and butter of a slasher film, also were kind of lacking for me as well. Its $1 million budget definitely shows, making the murders a mixed bag of offscreen or underwhelming stabs, smashes and shots. Still, there’s quite a bit of fun to it even though it looks like the most AI generated concept on the surface.
Rating: 2.5/5
#53. Novocain
Novocaine is at its best when its main character is getting the crap kicked out of him and is forced to do some quick thinking. Jack Quaid does exactly what is needed from him, managing to be likable and believable enough to keep me engaged in his mission. But outside of the fight scenes, the movie is painfully forgettable with no real dashes of personality to bolster the straightforward narrative or characters. Not amazing, but not tiring. Fun, but not really worth a rewatch. Just one of those smack dab right in the middle movies. You probably won’t regret watching it, but you may also forget that you did. If there’s one thing you should take away from this, it’s to just watch Companion instead.
Rating: 2.5/5
#52. Running Man
Yet another contender for one of my most disappointing watches this year, mostly because I’m a big fan of Edgar Wright’s work. The issue is that this never really does feel like a Wright picture, as it lacks a lot of the style and wit I’ve come to expect from him. Luckily, a lot of this is salvaged by a great leading performance from Glen Powell, whose embodiment of modern rage makes for a fun action hero you don’t mind getting behind. After a pretty weak and exposition heavy start, the film finds its footing in the middle with some enjoyable action set pieces. The third act, however, completely makes the film stumble through the finish line, over-injecting itself with flat, passionless message about rising up against those in power who take advantage of us lowly peons. It actually ends up saying nothing of note while brining everything to a sloppy conclusion. I hate to say it, but big budget Hollywood may just not be the realm Wright succeeds in.
Rating: 2.5/5
#51. Spinal Tap 2: The End Continues
First thing’s first: RIP Rob Reiner. What a shitty end to the year.
As for the film, it does kind of fall into that realm of feeling like a collection of deleted scenes from the first film. Luckily, it certainly helps that many of these bits are quite funny. From scenes like passive-aggressively arguing with Paul McCartney to lines like “Springsteen going on Sprevensteen”, this was certainly a delight to watch that, if anything, made me want to go back and revisit the original. At times the disjointed feel of the film keeps it from truly sticking as a narrative piece, but the memorability of those few scenes does make this thing leagues better than.
Rating: 2.5/5
#50. Death of a Unicorn
This was one of those movies that I was actually much higher on compared to the average audience goer when I first saw it, but, yeah, time has not been the kindest to my memory of this. While I had a decent enough time with Death of a Unicorn, I couldn’t help but feel frustrated by the film’s decision to play it relatively safe and not getting as weird or kooky as a setup like this would allow. The silliness does hit at times and the uni-kills can sometimes be shockingly gross, but the hesitance to push the film father left me wanting more from this idea. It’s a shame that good class warfare films may be becoming much like the fantasy creature at the forefront of this film; nothing more than a legend of what once was.
Rating: 2.5/5
#49. Ballerina
I really like the John Wick films, particularly the world building involved with The Continental and the greater world of assassins. Yet, Ballerina doesn’t really add too much to the lore while not really delivering on anything we haven’t seen before. Ana de Armas slides effortlessly into the badass role, but the character unfortunately falls into the “you killed my father” kind of revenge story we’ve seen countless times. At least the film does its best to make her fight scenes feel noticeably different from Wick’s. She isn’t necessarily a one-man killing machine, having to adapt and get creative to survive, all while taking a decent amount of punishment. And there’s some great action scene concepts, like Ana taking on goons with nothing but grenades and her fighting off an entire village of killer families. Unfortunately, nothing here really moves the needle quite like John Wick 4 did, both in story or presentation. It certainly retains most of the bloody fun the series is known for, but in the process, it also sacrifices memorability.
Rating: 3/5
#48. Rabbit Trap
Definitely not what I was expecting, but I land somewhere in the middle of being pleasantly surprised and a little let down. It sets the stage early as a slow burn, fantasy horror that still feels pretty grounded in reality. The trippy visuals and slow, encroaching mystery and anxiety really hits you a certain type of way, relying on very well done sound design. Unfortunately, I just don’t think it can keep it going for the rest of the film, as the more mythological elements don’t start to bleed in in a more interesting way. That being said, it ends with a respectfully touching note about family and the underlying sadness that comes from realizing replacing something you lost doesn’t erase the grief you had. I think I was expecting something more horror-centric, and what we get certainly isn’t that. I just wish it had found a way to hold more of my attention, because this is the kind of subversion I can usually vibe with.
Rating: 3/5
#47. The Rule of Jenny Pen
I think some of the scariest existential films I’ve seen have had to do with aging. You can’t tell me The Father isn’t one of the most gut wrenchingly terrifying films of the past few years. The Rule of Jenny Pen takes themes of aging and the loss of your own independence and concocts a bizarre, often funny nightmare in an assisted living home being terrorized by a man with a puppet. Seriously, who knew Prince Farquad had this kind of freak in him. John Lithgow is so entertainingly goofy in this, yet manages to be quite frightening in moments where he holds all the power. And while I think it’s a bit contrived, I think his character has a really interesting reason behind why he’s being such a dickhead. Outside of that, the film plays with perception and reality to further drive up the dread, as our main character struggles to sometimes realize what’s real and what isn’t. You’re not gonna find a lot of blood or gore or big jumpscares here, but rather, a haunting reflection of the state of elder care and how that age group can be ignored or taken advantage of. But, there’s a handful of crowd pleasing moments that ultimately felt very satisfying, making this a very odd thriller that may just give you a good time.
Rating: 3/5
#46. Havoc
At its best when it’s a balls to wall, no-holds-barred shoot ‘em up with over the top, squib filled violence, and at its weakest when its trying to be more crime noir. I wouldn’t say the conspiracy in this film is all that convoluted, but it does feel pretty cliche and it doesn’t really lead to any interesting character building or dynamics. Tom Hardy kinda feels like he improvised every line, but it does add a tinge of authenticity to his otherwise one-note character. I loved the grainy, neon coated aesthetic of the film, especially with how it presents the city. It does feel pretty video game-y at times, especially with that opening car chase and the amount of obvious particle effects at work here, and all that mixed with the copious amounts of shakey cam did make this a bit of headache to watch at times. Nowhere near Gareth Evan’s best, but it at least has some form of identity to it unlike most of Netflix’s action films.
Rating: 3/5
#45. Good Boy
Thank God for that monumental dog performance because it really elevates a barren movie where things kinda just happen. It’s shot super economically and strategically to focus around its four legged star, but it also leans on happenstance and abstract shenanigans in order to move things along. Really thought it was gonna get deeper into the male self-inflicted suffering in isolation that many believe makes you brave or noble, but doesn’t get quite there. Still, a very solid outing considering everything it has to work with. Indy the dog got way more emotional investment out of me than a good chunk of the performances I’ve seen this year. Romantic comedy with the dog from Anatomy of a Fall when?
Rating: 3/5
#44. The Fantastic Four
I do think this is one of the better Marvel films we’ve gotten in recent years. There’s an undeniable refreshingness with the new world and even the characters at times, I just wish the creative vision came forward far more in the meat and bones of the film. If you aren’t a fan of the MCU’s factory line way of pumping out movies, this probably isn’t gonna win you back on their side. But, if you’re someone like me, foolishly holding out hope that one day Kevin Feige will wake up and decide to put on a different hat, it’s not the worst thing in the world. I’m honestly kinda interested to see what the foursome get up to in the future, but not too interested in whatever tomfoolery Avengers: Doomsday has planned that’s probably going to ruin everything.
Rating: 3/5
#43. Highest 2 Lowest
I haven’t seen High to Low, but I think I can safely say this is less of an egregious retelling than Spike Lee’s Oldboy. It manages to be fairly entertaining throughout, mostly due to Denzel (even if this felt like one of his more half hearted performances). But the ethical dilemmas about wealth and class relations don’t really feel as pivotal here as I was expecting, never really sticking around long enough to influence the characters in a way that really felt challenging. The whole thing plays out and ends up surprisingly clean, which isn’t necessarily a bad thing (though the ending felt like a studio note), I was just hoping for a bit more edge. There’s a lot of questionable editing choices here too. Some of these aren’t new to Spike Lee (for better or for worse: dolly zoom, transition effects, etc) but a lot of them felt unnecessary. There’s a lot of music that I couldn’t tell if it was supposed to be diegetic or not, but it often cheapened many scenes. Another questionable director choice is Denzel receiving word of the kidnapping. Just had no weight to it and was honestly kind of funny.
It’s at its best when it’s a Washington and Wright buddy film or when Denzel is facing off against A$AP Rocky, but everything else is just fine.
Rating: 3/5
#42. Mission Impossible: The Final Reckoning
All good things must come to an end, and that includes Tom Cruise’s suicidal series. It’s very clear there were some issues with making this a direct sequel to Dead Reckoning, as the first chunk of the film feels like a rushed and half-baked race to connect the two movies before finally getting into the movie they wanted to make. Once the ball gets rolling, we do get some phenomenally incredible action sequences, from the retrieval of a hard drive from a rolling submarine at the bottom of the ocean to midair dog fight that involves Cruise hopping from one biplane to another. The action sequences more than deliver, but the problem is that there’s just not enough of them. With this seemingly being the last film in Ethan Hunt’s story, there’s a lot of character interactions and reminiscing on the past that just does not hit the way it should. The emotional stakes just don’t really resonate this time around, and there’s far too much expository dialogue to instill any real humanity into this thing. It’s a shame this series couldn’t have gone out with more of a bang, but you still gotta respect the kind of insanity it takes to make these films the way there are. Good on you Mr. Cruise, you’ve earned a one dollar donation to your space church.
Rating: 3/5
#41. Superman
When I left the theater, I knew I definitely liked this film, but didn’t outright love it. Its kickstarting of a brand new universe presents countless opportunities to branch off in the future, but at times it can feel like a hindrance to fully establishing the character the film is supposed to be about. Superman does remain the centerpiece of Superman, but the drive to load this film with so many possible thematic takeaways does make the Man of Steel’s journey a bit scattershot at times. But if you’re a fan of James Gunn’s usual style, this film is nothing if not fun, anchored by a great cast and a solid directorial style that mostly knows when to lean into goofy comic book weirdness and grounded, human moments. I probably would have loved a slightly stripped back version of this that didn’t overwhelm itself with too many ideas, but I still think this is a solid start. “Kindness is the new punk” certainly resonated with me, and if you don’t have a heart of kryptonite, it just might do the same for you.
Rating: 3/5
#40. Predator: Badlands
The Predator series of films may have never been in better hands, but even still, I’m a bit skeptical about where this franchise is going. Badlands manages to be a lot of fun with the Predator/robot buddy cop dynamic, while the visual designs of the planet and creatures are often quite stunning. That being said, this is starting to teeter into more light, action adventure rather than survival horror, and I’m not entirely sure that’s where this franchise needs to go. So if you’re looking for something that maybe does sci-fi adventure better than recent Star Wars offerings but maybe not as inspired as the Avatar films, then maybe Predator: Badlands will be your cup of tea. There’s plenty to admire here, but not really enough to make me do backflips, eagerly awaiting the next ragtag adventure our characters get into. I trust Trachtenberg to keep making entertaining popcorn flicks, but I do hope there ends up being more to his work down the line that manages to reel me back in.
Rating: 3/5
#39. The Materialists
A film so seemingly misunderstood that I honestly kind of wish I had done a proper review of it. There really is something poignant here, analyzing the transactional and analytical nature of modern dating that way too many people subscribe to. Landing somewhere between a rom-com and a relationship drama, Celine Song’s follow up to Past Lives might not hit the same highs, but it at least flexes the director’s talents for taking grounded analysis’s of dating and love and putting a bit of a comedic spin on it. Anyone calling this “broke man propaganda” probably saw too much of themselves in this and got defensive. Not a complete knock-out, but one that deserves more of a look than it probably got.
Rating: 3/5
#38. The Smashing Machine
Ignoring the fact this was more or less designed to be “the one” for Dwayne Johnson, I still walked away fairly impressed with his performance here. It’s a quiet, soft, restrained role that doesn’t put Johnson too far out of his wheelhouse, as that likability is what made him a star to begin with. It’s certainly better than the average sports biopic, but doesn’t really have too much else to it. By and large, this is Dwayne’s best role to date, and even then it’s still nothing to be doing backflips over. I do love the aesthetic, capturing that grainy and warm look of the time while maintaining a very solid art direction. The soundtrack can be a bit much at times, as I found many of the needle drops not really working for me. While I don’t think the film comes full circle on its themes of victory and how to handle not maintaining it, I was often more captivated by the relationship between Johnson and Blunt’s characters. It devolves into pretty standard affairs, but there is something to it that grabbed me and I wish the film capitalized on it more.
Rating: 3/5
#37. Bring Her Back
Bring Her Back will ultimately deliver on a solid horror experience for most, even if I think it lacks the splintered and energizing identity that would make me come back to Talk to Me. The performances are certainly no short of substantial, with no weakness to be found across the board, and the scariness more often than not delivers with disgusting gore and haunting images. However, it ultimately felt like fresh trodden ground was being trampled again, and I was kind of hoping for the directors to go in a different direction thematically. There was just something missing for me here; something that’d pull me in and make me see this as something more than just a horror movie. That’s the kind of thinking that put A24 on the map for me, and I sure as hell hope they can bring that mindset back eventually.
Rating: 3/5
#36. Thunderbolts*
My favorite superhero outing of the year that injected some much needed humanity into a franchise that some debate never had any to begin with. It isn’t exactly Oscar-baiting levels of depth, but there was actually some semblance of genuine emotion that actually managed to resonate with me in a way. But this isn’t some grand revelation for the franchise that reinvents the world and breathes new life into it, but I think it’s the first one to come close in forever. With the characters and story coming from a place of sincerity, I felt the most connected to this universe than I have in years thanks to the film at least trying to treat us like adults for a change. There is an actual glimmer of hope that I may once again be excited for these films, so now it’s just a battle between if or when that hope gets snuffed out. Look, the film is positive, but I’m still allowed to be a nihilist, damn it. Unless Florence Pugh wants to be my friend. That would probably sort everything out too.
Rating: 3.5/5
#35. The Monkey
Sometimes I feel like the only Osgood Perkins fan on Earth, but I’m quite alright wearing my crown of thorns. If you maybe felt slighted by Longlegs, I think you should at least give The Monkey a shot. There’s a much more unique narrative voice here in my opinion, one that elevates a familiar story in a way you may have thought Longlegs had been missing. It’s one of the better horror comedies of recent memory, putting actual effort into the humor along with the shocking imagery. Though it may not possess the same creative identity as an Aster or an Eggers, I still think it’s leagues better than the very similar films some of the big horror distributors have put out over the past several years. To put it into layman’s terms, it’s just the right amount of monkey business, even if it doesn’t go fully bananas.
Rating: 3.5/5
#34. Dead Talents Society
So, this is technically a 2024 release, but it didn’t find its way into American hands until this year, and it’s just so much fun that I think it deserves a place on the 2025 list. Dead Talents Society envisions ghosts and hauntings as an entire business, where the dead chase notoriety and virality just as much as the living. Think of it as a cross between Monsters Inc. and Beetlejuice. It’s such a cool concept, viewing urban legends as a lucrative business that dominates the talk of the afterlife much like celebrities do the world of the living. It’s super energetic, colorful and incredibly campy, making this most likely the lightest watch on this list. Despite that, I think there’s a pretty touching message about being valued without having a big, glamorous talent. The more tender moments are effective, but aside from that, it’s incredibly silly, never being afraid to get really absurd with its scares and gore. At times it reminded me a lot of House, getting real playful with the editing and setups. The cast is a ton of fun, with Chen Bolin’s afterlife manager Makoto being the standout for me. Maybe the quirkiness and weirdness won’t be for everyone, but this one is definitely up my alley.
Rating: 3.5/5
#33. It Ends
An incredibly enthralling debut feature that does a lot with a little. When up against tiny budgets and minimal resources, this is exactly the kind of intriguing thing that independent filmmaking can produce. It’s repetitive, but in a way that actually feels like some distance is being covered, sprinkling in realizations throughout that continue to add to the mystery. Thankfully, the connection between the young actors makes this super believable and engaging to lessen the strain of seeing the same road over and over again. Additionally, it’s open-ended in a way that leaves room for interpretation, but not in a way where it feels like you’re having to fill in the blanks the movie never thought of. Certainly a bit testing at times, but this coming-of-age, existential horror film has got a lot under the hood to roll with.
Rating: 3.5/5
#32. Presence
Alright, look, this isn’t really a horror movie that’s probably gonna scare you. If that’s all you really look for in a horror movie, then yeah, this one may leave you disappointed. But, if you like films that use elements of horror to complement more human stories, then that’s exactly what this film delivers on. The whole thing is shot from the perspective of a ghost haunting a house, watching a new family’s lives unravel while occasionally stepping in to do a little haunting. This often static, fly-on-the-wall style may not sound the most exciting, but director Steven Soderbergh just knows how to make even the mundane interesting. I’m convinced the guy could direct paint drying and still find a way to make it appealing. Every scene has some type of poetry to it, whether it be from how the emotions of the ghost are expressed through camera movement or how the family talks to one another. The characterization of the ghost is actually really well crafted, telling us so much just by how it moves or sheepishly looks away from people. But at the core of the film is a pretty heartfelt story of a family trying to navigate tragedy and change in their own, often misguided ways. It’s surprisingly really moving, even though it eventually gets very silly with the introduction to a character that ends up monologuing like a Bond villain. Even still, this is a neat little experimental piece of horror that may not deliver on big scares, but it reminds us that having a good story can be just as important.
Rating: 3.5/5
#31. Jay Kelly
After Baumbach’s White Noise failed to leave any kind of impression on me, this felt like a much needed return to form. Easily one of the best George Clooney performances in the last…I dunno, decade? He finally found himself a role that connects to him on a much more intimate level. Much like the titular actor, he’s nearing his golden hour where the things that matter, like family, love and simply being there, take precedent over all, but is there enough time? This turned out to be a pretty solid piece on legacy and what that really means. Is it the work you leave behind, or the impression you left on people? Can it be both? Adam Sandler almost kind of steals this thing out from under Clooney, though, and at times, I kind of wish the film would have been more about him. I think the late-stage regret storyline is performed a bit better in two other movies farther down this list, but this is certainly far more approachable and conventionally entertaining in a way that that still matters.
Rating: 3.5/5
#30. The Naked Gun
If you yearn for the bygone era of nonsensical spoof films, then the new Naked Gun might just scratch that itch. It manages to feel both timeless and timely, proving this comedy style and structure still has some legs in the modern day. Even with some dud gags and one-liners, this thing moves too fast for you to sit with them for long. The best parody is done in sincerity, which I think is what was ultimately missing from the crop of spoof films we’ve gotten for almost two decades. This is one of those rare legacy sequels that managed to understand the assignment, and I think that’s definitely worth something. Take it from a fan of the genre, this had me dying of manslaughter. Oh…that’s supposed to be man’s laughter.
Rating: 3.5/5
#29. Frankenstein
This feels like the accomplishment of a lifelong journey for del Toro, but in hindsight, it now feels like he’s already accomplished this through his other works. That’s why 2025’s Frankenstein can sometimes feel like a retread for the director. It’s stylistic and grand like we’d expect, but it ultimately doesn’t do enough for the director’s body of work nor for the Mary Shelley’s opus. Luckily those core performances from Isaac and Elordi are truly magnetic, pulling you into a dark and sometimes uplifting tale of creating and not knowing what to do with it. It’s a fun film that certainly gets the gist of what the original novel was trying to say, but as a whole, it only feels skin deep at times.
Rating: 3.5/5
#28. K-Pop Demon Hunters
One of the latest outings from Netflix that has really caught like wildfire, and unlike most, it definitely feels deserving. Even as a despicable heathen who doesn’t exactly partake in K-pop, I still found this to mostly be a blast. Sony Pictures Animation really does continue to set the bar for American animation, still finding ways to build upon their style with cutesy anime inspirations. Plus, that soundtrack is absolutely killer, with it being no wonder why this fiction band has managed to dominate the charts this year. I think what kept me from loving this even more was the writing; both with it’s sometimes weak narrative and unfortunately cringe-inducing comedy. That being, there’s a lot to love here whether you’re a fan of animation, Korean music, or unhealthy parasocial relationships with celebrities.
Rating: 3.5/5
#27. The Ugly Stepsister
I consider myself to be pretty iron-stomached when it comes to horror, but good God, did this really test my limits. But The Ugly Stepsister isn’t just an excuse to inject gross-out body horror into a well known fairytale. Incredibly haunting and darkly funny, this Norwegian film decides to take those core ideas around beauty and appearances and warp them into an uncomfortable body horror film. The stepsister, played compellingly by Lea Myren, is given a lot more depth this time around, being just as much a victim of societal pressures and circumstance as Cinderella was. Even though she’s on the side with all the power, she is still told how to look and how to change to better fit into her social class. At first it’s just things like hair and clothes, but when it starts to get a bit more flesh deep, that’s when the stomachs start to churn. A bit of pity remains with her throughout, but after enough time, this kind, lovestruck girl is warped into a hateful and brutal individual. While I can’t really say the film is frightening throughout, it still has stellar character moments that are eventually rewarded with gnarly bodily mutilations. Like I said, I usually have a pretty strong stomach for stuff like that, but there is a scene at the very end of this that, I kid you not, almost made me vomit. It is repulsive and so well executed and if this was earlier in the movie I may have had to turn it off. So, if you think you have the stomach for it, I would definitely give this gothic character study a try. Just…maybe no food beforehand.
Rating: 3.5/5
#26. The Life of Chuck
My relationship with Mike Flanagan works can be a bit complicated. His love of poetic waxing isn’t always my cup of tea, often feeling as though it cuts the legs out from under the pace of the story while also taking me out of the meat of the story. That’s why I usually prefer his films over his shows, as they provide a nice little box to contain himself in so he can enthrall within a reasonable amount of time. And that’s just what he does with this, managing to craft one of the most uplifting and whimsical films of the year. While I do think the film starts out strong with its apocalypse mystery at the forefront and teeters off a bit when it becomes more of a coming-of-age film, it’s still no less enjoyable. Its inward look into the vastness of the human experience is quite moving, approaching these complex ideas with nuance that you would expect from Flanagan. It may not have the answer to life hidden inside it, you will find the multitudes of what makes life special on full display here.
Rating: 3.5/5
#25. Sorry, Baby
Certainly one of the most uncomfortable watches of the year, but it absolutely needs to be. What a standout debut from Eva Victor, who goes full Bradley Cooper, helming the narrative from in front and behind the camera. Victor‘s grasp on the uncomfortably funny and bleak realities seems fairly well managed, knowing when to let all the air get sucked out of you before finally letting in a breath. It tackles familiar themes of living with yourself after immense pain in a way that finds the dark humor in brutal honesty, but never underplays the severity of the subject matter. It’s a deeply human film that may focus on some of the lowest points a human can find themselves in, and yet there’s still a light that can be clawed towards when you’re ready to get to it.
Rating: 3.5/5
#24. Bugonia
Bugonia is certainly a fun, incredibly depressing time, something we’d be shocked to find absent in one of Lanthimos’ films. He offers a solid, timely character study that delves into the minds of the oppressed and oppressor, analyzing what makes them do the things they do and believe the things they believe. To perhaps no one’s surprise, he manages to direct all of his stars profoundly well, with each member of the tiny cast managing to shine in different ways. So, as a movie, it’s pretty damn good, but as a message or a satire…well, that’s where I think it falls a bit flat. The overarching idea gets pretty muddled as the film goes on, and by the time the credits roll, you’re not entirely sure about the bigger message Lanthimos proposes. The film shines when its spotlight is on the individual, but stumbles over its words when forced to take a step back and look at the world. It kind of feels like Lanthimos didn’t really have anything interesting to add to the conversation, but at least he made this thing as tight and as buzzing as he possibly could.
Rating: 3.5/5
#23. Caught Stealing
Well, this was certainly a pleasant surprise. Who knew Aronofsky could have a little fun? His work is often not for those looking to have a grand old time, usually containing dark and depressing themes that aim to absolutely ruin your day. It’s these darker focal points of his career that made me a bit skeptical to hear he was making a dark crime comedy. But if I may borrow some sports terminology like the title does, I think Aronofsky slam dunked this thing. Baseball lingo! Caught Stealing is a high octane odyssey across pre-2000’s New York that manages to entertain while never shying away from some of the darkness Aronofsky’s work is known for. Austin Butler proves his star power tenfold here, while the rest of this film is stuffed to the brim with entertaining character performances, from Hasidic mobsters played by Vincent D’Onofrio and Liev Schreiber to Matt Smith being the walking embodiment of the UK punk scene. This thing is just one gut punch after another, as things get increasingly worse, leaving you wondering just how Butler’s Hank can get out of this one. But despite its bleakness at times, the film manages to be consistently funny, proving Darren does have a sense of humor to him. At the end of the day, I think this film lacks a bit of an oomph in its style and story that keeps this from being super memorable, but you don’t always have to be re-inventing the wheel to make something good. Sometimes all you need is a thrilling story and fun characters to really have a hole in one. Baseball lingo!
Rating: 3.5/5
#22. One of Them Days
Comedy is alive and well in 2025 thankfully, and One of Them Days is one of those films that threatens to be swept under the rug because of its early in the year release. But you should definitely give this a watch as it’s an incredibly entertaining modern slacker comedy. Keke Palmer is great as always while SZA truly surprised me with her comedic chops. Both have great comedic and emotional chemistry between the two, managing to both lift each other up while also inadvertently tearing one another down. The comedy is super consistent throughout, hinging on a lot of memorable and entertaining side characters and even a bit of a commentary on gentrification. It’s a real odyssey of a film that manages to nail a big time feel despite the whole thing taking place across a few blocks, with each new plot thread introduced being more absurd and hilarious than the last. It really do be one of them days, sometimes.
Rating: 3.5/5
#21. On Becoming a Guinea Fowl
Just one of those films that leaves a big old hole in your heart. Highly emotional and incredibly frustrating, the film’s handling of complex emotions through numbed uncertainty speaks volumes for a rather subdued film. It’s central plot revolves around a highly complicated scenario, one that wars between indifference based on tradition and just wanting to scream in the face of every last person. Always bubbling but never fully bursting, there’s a definite universal relatability to this despite focusing on one specific culture. Yet, it’s in all of our cultures to sometimes grit our teeth and put your head down all for the sake of family, no matter how much pain said family might have caused you. Harrowing, depressing, and capable of still squeezing a little laugh out of you at times, this is one of those films you may not think you want to see, but you’ll be all the better for doing so.
Rating: 3.5/5
#20. Friendship
Friendship is an extended display of Robinson’s quirky brand of cringe comedy mixed with the kind of aesthetic A24 usually reserves for thrillers and horror movies. It’s a bonkers film that does so well at remaining grounded while still being absurd, which in turn, actually manages to generate some emotional connection to an absolutely pathetic man. At times it can feel restrained because of this direction, but ultimately, I think it was the right call to make this an unnerving watch that still had me laughing nonstop. Comedy is super subjective, so I always hesitate to recommend one because we all have different senses of humor. Friendship is for those who are fans of the off-putting, the relatable and the weirdly specific. Tim Robinson continues to prove why, in my eyes, he’s one of the most hysterical comedy actors working today, taking his signature brand of weirdness and throwing it into a feverish story that can sometimes border on nightmarish. Highly quotable and endlessly entertaining, Friendship may have won its way into being one of my favorite modern comedies. One thing is for certain: who needs therapy when you’ve got friends. Turns out; everyone. Everyone should probably be in therapy.
Rating: 4/5
#19. Predator: Killer of Killers
My favorite animated movie of the year (between the two I saw, maybe I’ll be better about that next year). Where Predator: Badlands kind of underwhelmed me, this gave me exactly what I was looking for from the series; Predators invading other times and cultures. This full utilizes the animated medium to deliver on some stellar action sequences, committing to the Predator’s usual brand of brutality while finding room to get a little creative with the kills. This is a fully Rated-R bloodbath, and the film truly pulls no punches. But it’s not just a spot-fest of brawls and mutilations; in fact, it’s a cleverly connected anthology that finds a great means of connecting each of the stories through similar themes, eventually paying off in a pretty exciting climax that finds common ground between time and cultures. It really is one of the best Predator movies ever made in my opinion, so don’t be a wimp and let the fact that it’s animated drive you away.
Rating: 4/5
#18. The Long Walk
What a pleasant little surprise this ended up being. Okay, pleasant might not be the most ideal word. The insanely bleak adaptation of Stephen King’s work is quite gut wrenching and depressing, yet the comradery and humanity that manages to shine through despite the odds is nothing short of reassuring. This ended up being everything it needed to be; a tight, contemplative, harrowing journey across what it means to be a man. The cast can manage to make you smile as much as cry, while the haunting violence will stick with you throughout. It didn’t need to be anything more than this, and yet its handling with such care definitely hasn’t gone unnoticed. Even in its simplicity, the incredible performances and endearing script manage to elevate this thing to becoming an underrated piece of dystopian cinema that will make your feet hurt just from watching it.
Rating: 4/5
#17. The Roses
Another pleasant little surprise that I wasn’t really gonna go out of my way to see, but after deciding to watch it during a very long plane ride, I must implore you to not make the mistake I almost did. The ensemble really shines here with its brutal and hilarious honesty towards relationships, power dynamics and traditional roles in the family unit. Cumberbatch and Coleman are absolutely vicious to one another, but everything feels so authentic despite the absolute meltdowns. There is a genuine emotional chord to this that is quite reflective of how many relationships fail, but it also never forgets that it’s an over-the-top comedy. The profanity laced script is filled with a ton of biting takedowns while never shying away from the tragedy that can befall couples with time and the changing of breadwinning. With one of the best comedic scripts to come out of this year, this might just make the perfect date night movie if you got something to tell your significant other something you’ve been too scared to say.
Rating: 4/5
#16. The Ballad of Wallis Island
I really dug this simple but heartfelt film about an eccentric lottery winner inviting his favorite musical artist to his reclusive island for a private show. I know that sounds like the setup to a horror movie, and in some ways this kind of is, but the final product ends up being incredibly sweet and funny. Tim Key is endearingly clueless here, never really stepping into the territory of annoying the audience rather than the other characters. Tom Basden and Carey Mulligan are equally great as well, embodying a past lovers dynamic that keeps things grounded and believable, forgoing fairytale cliches in order to reflect on acceptance and moving forward in life. It’s a very mature film in that regard, but not one that leaves you with nothing to nibble on throughout. The comedy is quietly on point, while a “will they, won’t they” dynamic keeps you glued despite the fact it’s clear where that arc will end up. There were so many chances to take this in a more crowdpleasing or saucy direction, but its refraining from that honestly makes this feel a lot more realistic and personal. There’s decisions that don’t give you the happy ending you may expect, but I swear, it gives you the ending you need.
Rating: 4/5
#15. Companion
Do yourself a favor and do not watch the trailer for this before going in. It won’t make the film absolutely mind-shattering, but it will give you a much richer first-time experience. There’s been a few films from this year that give us a bit of a glimpse into our future through our present, but Companion does such a good job by wrapping itself in social comedy revolving around dating, bodily autonomy and consent. But despite some heavy ideas, this manages to be darkly fun and a solid, crowd-pleasing blend of horror and sci-fi. While not the freshest of ideas, there’s still a competent and engaging voice behind it that makes it one of the more memorable films to come out of the earliest part of the year.
Rating: 4/5
#14. The Phoenician Scheme
Definitely not Wes Anderson’s most narratively rich films, but certainly one of his most entertaining. You can expect all of the usual trimmings from Anderson, from his dry humor to his luscious settings, anchored by one of the best lead Benicio del Toro performances I’ve seen and supported by a gallery of Anderson’s usual suspects. But there’s some little nuances to this thing I really dug, like it’s approach to religion. It’s straight and narrow, but it’s bolstered by an applaudable wit that makes you forget he’s certainly made better films. It isn’t really doing anything all that unique or new for the director and I think that may hurt the film over time, but sometimes that motto, if it ain’t broke don’t fix it, can be really hard to argue against.
Rating: 4/5
#13. Vulcanizadora
What a freaking gut punch. It’s a genuinely painful watch, as nothing I’ve seen this year has had my stomach in knots like this did. The two friends’ dialogue is so realistic but also so unique. I knew people who talk like this, and to see them replicated to a T like this is genuinely impressive. And then, halfway through the movie when you think everything is about to come to an end, it just keeps going, leaving you with the brutal harshness of reality to simmer in for another half hour. But it’s not just mindless psychological torture porn. It dissects the vulnerabilities of masculinity; a need to atone for your sins in a way that isn’t actually beneficial to anybody. It’s a reminder that humanity, brotherhood and love is never off the table, but we can become blinded due to our twisted views of justice and needed suffering. It’s a whiplash of a movie that will have you laughing at a couple of losers in the woods that will quickly have you pulling at your hair as they march towards an incredibly avoidable reckoning. When it’s time to get down to business, this thing is so expertly paced, never in any rush to get to the end, which just makes it all the more painful. Not many films end up haunting me, but there’s just something about this thing that will make it stick with me for a long time.
Rating: 4/5
#12. Wake Up Dead Man
In my eyes, Rian Johnson is 3 for 3 with his Benoit Blanc mystery series, with Wake Up Dead Man perhaps being his most puzzling and thought provoking. While the potential perpetrators aren’t as memorable as those from the first, the story revolving around the purpose and abuse of faith is perhaps far more emotionally resonating. Daniel Craig is once again stellar, but it’s Josh O’Conner’s humble and soft role that really reeled me in. Rian Johnson’s own beliefs and thoughts bleed through the page, making this perhaps the most personal of the three, and I think that goes a long way. Plus, it’s got one of the most out there and insane mysteries concocted by Johnson yet, and while it may be a bit too winding at times, where it ends up still manages to be narratively and emotionally satisfying. It’s everything you could want in a mystery and then some, and if Netflix doesn’t give his films more theatrical releases they will go to hell before they die.
Rating: 4/5
#11. Marty Supreme
The kid’s got balls. Ping pong balls. Orange, expensive ping pong balls. Josh Safdie returns to his comfort zone of high-intensity, in your face dramedy that he once again absolutely nails. The titular character, seemingly created specifically with Timothee Chalamet in mind, is a compelling whirlwind of ambition and narcissism that embarks on a self-destructive odyssey that may feel a bit too long-winded at times, but it still makes for one of the most fun and electrifying films of the year. I really dug the fluttering soundtrack, while the little-room-to-breath style of shooting succeeds at intensifying the rise of Marty’s fall. What Safdie and Chalamet do here is nothing short of impressive, perfectly nailing the kind of character who only makes things worse, yet you still want to see him succeed, oddly enough. At times the constant misfortune can get quite tiring, especially with this runtime, but this wired and crazy story makes no intentions of slowing down, and I gotta respect it for that.
Rating: 4/5
#10. Black Bag
Easily one of the tightest, intentional and alluring films to come from this year. Steven Soderbergh has been proving time and time again how much he can accomplish with so little, like this year’s Presence, and there’s no better example of this talent than Black Bag, which manages to be a thrilling and erotic tale of deceit, lies and how you just wanna kill your dinner party guests sometimes. Michael Fassbender and Cate Blanchett make for quite the scintillating couple, pushing the boundaries of loyalty and honesty to its tearing point as the question of alliance to love or country constantly war with one another. And like I said, there’s no fat on this script either, just lean, prime meat that’s easy to sink your teeth into. Every conversation feels like a dissection and every character has something to hide, and the manner in which things get unfurled and brought into the light is so tantalizing and intriguing. It’s exactly the kind of stuff the best spy thrillers thrive off of; it’s sexy, it’s deceptive and it’s a hell of a lot of fun. It’s kinda got me thinking of just throwing a gun on the dinner table at my next party and seeing what happens, honestly.
Rating: 4/5
#9. Mickey 17
This film was one of the year’s earliest releases, and I do fear that the hype and anticipation surrounding this director’s newest work created an air of expectation it was doomed to never meet. With that being said, I really enjoyed Mickey 17, the latest film from class warfare specialist Bong Joon-ho. Sure, it may not be as nuanced or poetic as greatest movie of all time Parasite, but Bong is more than happy to do away with subtleties and hit us with a big and loud sci-fi social commentary that absolutely rocks. It’s been a great year for twin movies, and we mustn’t forget that Robert Pattinson is in that conversation too. He’s so good at injecting subtle and specific quirks into his different Mickeys that makes them easily identifiable despite looking the exact same. And we get another funny little voice out of him, which is always something I look forward to. Like I said, the film is far more in your face with the commentary this time around, crafting a bleak sci-fi dystopia where the rich thrive off of the disposables. But Bong makes up for the lack of subtleties by making this a well designed, incredibly fun tale that still finds ways to be poignant with a subject matter the director has delved into countless times. The familiarity doesn’t come devoid of passion, and I’m passionate about reminding you that this movie is still out there and is absolutely worth a watch.
Rating: 4/5
#8. Weapons
I was so happy to step back and take a look at my list and see how much horror has dominated the year. And you can’t really talk about that horror hype train without bringing up Weapons, one of the most surprising films of the year. Not so much in its plot, but in its execution. It’s one of those things that, when you look at it in a vacuum, you think it can’t possibly work. And yet Zach Cregger has seemingly struck gold with a film that questions just how funny you can make a supernatural drama without it going into full on comedy territory. It’s a thin line to tread, but somehow he manages it. The disappearing children plot is incredibly somber, both because of how it’s treated by the actors but because of how much it echoes an unfortunate bi-product of the modern day. There’s a hopelessness and confusion that comes with such an event where everyone is looking to point a finger rather than look at the bigger picture of how we got there. The bigger picture being a witch, but, you know, look at the subtext. But simultaneously this ends up being a very funny film that knows exactly when comedy is needed to either defuse a tense moment or give a satisfying, crowd pleasing moment. And despite the film turning into glorified slapstick at points, it’s never clashing thematically all too much. The stakes still remain serious, but it lets you laugh when a bleak story like this might not usually let you. And I still think there’s a lot more to unpack underneath the obvious metaphors, like corruption through consumption or the role that parenting your child plays in strengthening your community. But, at the end of the day, if you’re just looking for a fun and spooky film, you’re not gonna find much better than this from this year.
Rating: 4/5
#7. Hamnet
To delve into any of the works of The Bard in an attempt to recontextualize or re-evaluate his work is a daunting task, but man, does it feel good to be a longstanding Chloe Zhao truther. Hamnet is surrounded by big emotions that, in a lesser director’s hands, could come off as manipulative or really pining for that Oscar, but I don’t believe that’s the case here. There is no heartbreak without heart, which I think is something these family tragedy dramas tend to forget. They think it’s enough to flashbang you with it because these moments are objectively sad, but it ultimately just comes off as lazy. Hamnet rectifies this by putting actual development and depth in both the expendables and those who will suffer to tell their stories long after. Maybe not enough depth, but just enough to make the tragedy feel like a personal loss rather than just a narrative tool. There’s a genuine tenderness inside these emotions, even the ones that are laced with anger and confusion. Jesse Buckley and Paul Mescal are phenomenal, not just landing those big emotional swings, but making them feel earned through the sweet moments of sacrifice and love that make these moments possible. There’s a common theme between this film and another film I’ll be talking about on this list soon about being unable to say what you need to say conventionally, finding art to be that looking glass into your heart. While that other film is higher than this one for a reason, I still think this does a phenomenal job sympathizing with genius while not exactly exonerating the actions done in pursuit of it. Despite its unfathomable sadness, this still made me excited to have a kid one day, and it can take more than just okay film to really make me think that.
Rating: 4/5
#6. If I Had Legs I’d Kick You
And in case that movie was too depressing and you’re in need of a pick-me up…well, this movie is only bound to make things worse. If I Had Legs I’d Kick You is that bit of high-anxiety cinema I kinda wish Marty Supreme succeeded more at delivering. Rose Byrne is parental anxiety incarnate; not because she’s doing everything she can for her sick daughter, but because of how the rest of the world around her is growing darker and darker by the minute. Believe the hype, because Byrne is absolutely fantastic in this role, putting out a great layered performance that finds herself echoing the same sentiments she combats. She’s stuck in this hopeless cycle of not having the answers or any real help and passes that treatment onto others. It’s very much a case of a character being in a sticky situation, and if they maybe just tweaked one thing about their behavior maybe things would brighten up. But sometimes it’s hard to ask for that kind of selflessness when the world is not willing to give you that grace. In her own words, she’s been set up to fail, and while the film is centered around her, it’s really about this cycle of apathy for one another that can’t seemingly be broken. The world this film throws her into can be relentlessly cruel and soul crushing, but also darkly funny when it wants to be. Like, that hamster scene is grade A comedy that just makes you want to crawl out of your skin and die. No lie, it’s a tough watch, but beneath the self destruction and frustration, there is the reminders of what keeps us going and what makes fighting all the more worth it. Don’t watch this on a good day because it just might make it bad, but don’t watch it on a bad day either because it may just make things worse. You know, wait for one of those good middle days.
Rating: 4/5
#5. Sentimental Value
The power of film is transcendental. It can speak the words you can’t utter and muster up emotions you may struggle to address in your own life. So if my kids end up hating me in the future, I’ll just throw on Tommy Boy and they will understand everything. But in a much more nuanced example, Sentimental Value was a powerhouse of emotions that, like Hamnet, does a lot with the concept of art being the imaginary string that connects us. But it doesn’t go about this in some kind of fairytale, feel-good way. It’s honestly a bit of a downer, but it’s those little lights of love that manage to shine through the confusion and depression that really makes this something special. The dynamic is so interesting, with a film director dad making a film to finally say the words he’s always meant to say to his daughters, even though he is still trying to figure out the words himself. It’s just the only way he knows how to do this love thing, for better or for worse. And that concept is run through the ringer by tremendous performances across the board. Renate Reinsve, Stellan Skarsgard, Inga Lileaas and Elle Fanning are all spectacular, warring through this big old house that’s honestly a character in itself. The home holds so many memories that these characters just don’t know what to do with, from the death of the father’s mother when he was young to the harsh divorce that severed the sisters’ view of their parents forever. It makes the film the father is making feel like a last resort; the last ditch effort to navigate generations of pain and somehow come out intact on the other side. And the film approaches that idea very maturely, giving us maybe not the outcome we want, but the outcome we need. The ending is the kind of thing that moves you so much that, yeah, the dad probably has a point about the language of film. Quietly somber but ever so moving, let it be a reminder that the time to say the things you need to say is yesterday. Also, fuck Netflix. That is in fact one of the takeaways, here.
Rating: 4/5
#4. Eddington
Uh oh, we’re getting political! Getting political everybody! But how can you not be in this day and age? Honestly, politically driven mindsets have given us some of the best films of the year, and sorry if this pisses you off, snowflakes, but Eddington is one of those movies. This had to be one of the most divisive movies of the year, and luckily, I found myself on the side of loving it. But, to be fair, it doesn’t do the best job at winning people over. Its politics are prickly and it can often feel like it’s exerting more energy into targeting well meaning if occasionally misguided mindsets, but I think it’s all part of the absurdist world Ari Aster is building. By using the backdrop of the 2020 pandemic, Aster has crafted a fever-dream of a western that hilariously reflects one of the darkest periods in many of our lives. It tackles the spread of misinformation, the low self-esteem that drives people to do terrible things and the abuse that can unfold when power is given to the wrong people. Joaquin Phoenix plays a despicable but kinda sympathetic sheriff whose whole life is falling apart and he needs to reaffirm his purpose in life, which is essentially playing out a right-wing power fantasy. Phoenix does an exceptional job at making Joe infuriating to follow, but also quite compelling, hoping to bridge the gap to understanding why people turn out like this. His life just turns into one big farce as he rises to power, causing untold damage along the way while living out the bullet spraying fantasies of many small town guys with guns. Everything begins to make a bit more sense when you look at the film through a more absurdist lens; there’s truth in what’s being said, but the film also puts a bumbling, trigger happy loser in the driver seat of a gun-nut power fantasy. This possibly contextualizes what Aster was trying to accomplish; condensing the madness of that time into one big powder keg of crazy. I get it won’t be for everyone, but this is an absolute joy if you’re willing to let the madness take hold of you.
Rating: 4/5
#3. 28 Years Later
The best horror movies that came out this year made me feel something. Like, really feel something other than just disgust or the need to piss my pants. And one of those horror films is 28 Years Later, which ended up being one of the biggest surprises of the year for me. I enjoyed the prior 28 films, but this just hit so much harder than those films ever did, and in more ways than one. The abrasive and jarring cinematography from the prior films returns, but then there’s also these shots and scenes of absolute beauty, somehow managing to find the majesty of life in the midst of absolute hell on Earth. The fact this thing was shot with iPhones makes it even more impressive, as there are moments that completely blow traditional cameras out of the water. And it really does trick you into thinking this is gonna be another traditional zombie movie, but then it gets into the later acts and the emotional core really starts to bleed through. This vibe shift possesses so much humanity and love and melancholy in a way I really wasn’t expecting, reaffirming the need for life and hope in a world of death and despair. A lot of this comes from incredible performances from familiar faces like Ralph Fiennes and Jodie Comer, but it’s Alfie Williams’ breakthrough role as Spike that really brings this whole thing together. But don’t get it twisted, this is still a brutal, batshit film that also just so happened to make me tear up during the three times I’ve watched it. There’s just something to it, man, and the fact that we’re getting the sequel in like a week? God, you spoil me too much Danny.
Rating: 4.5/5
#2. Sinners
The number one and two spots have honestly been flip flopping for months, so who knows if this is their final placement in the annals of history, but this is where they’re landing for now. I know it’s been talked about to death, and I know people have their opinions about it, but Sinners is just one incredible piece of film to me. Really, it’s everything movies can and should be. It’s a genre defying horror musical period piece dramedy, which sounds downright stupid when you put it that way. But I’m absolutely in love with this thing, right down to its pieces and parts. The ensemble cast is absolutely killer, with everyone playing their role to absolute perfection. Michael B. Jordan strikes the perfect separations between twin Smoke and Stack, newcomer Miles Canton electrifies in his debut with incredible musical ability, Jack O’Connel delights as a historically resonating Irish vampire, and Delroy Lindo is just stealing every last scene he’s put in. It doesn’t matter if this thing is leaning more into the period piece side or the horror side; everyone is absolutely killing it in their roles, being so far removed from just being vampire fodder. And these differing tones and ideas are juggled so well, managing to cover so much ground without it feeling like these moments are too disconnected from one another. And, god damn, the music. I have not been this absorbed by a film soundtrack than I have with this one. The music from longtime Coogler collaborator Ludwig Goransson blends blues, folk, jazz and international tunes to create a tracklist that not only gets the feet tapping and heads bobbing, but it actually ties really well into the story’s themes. I Lied to You leads us into this transcendent moment of connection across generations and cultures that turns into a literal barn burner, while Rocky Road to Dublin is used to signify the perceived unity Remmick’s cult of vampires offers, using the music of his homeland to enthrall and “share” with his flock. There’s a reason this was my number one album of the year for me; it’s absolutely phenomenal. A lot of people criticized this for not being “scary” while being labeled as a horror movie. I get that, but I also find it narrow-minded to believe that horror can’t be used to heighten and style other genres as well. Some of the best films, to me, are the ones that break from the conventions of their genres in order to give us something truly special, and that’s exactly what Sinners does for me. It’s fun, it’s poignant, it’s sexy, and damn it, maybe it is my favorite movie of the year. But as I was comparing this and my current number one, something just pulled me towards the latter, and honestly, my number one is just as fitting for the spot as Sinners.
Rating: 4.5/5
#1. One Battle After Another
Yeah, sorry to be a basic bitch, but One Battle After Another is the movie of 2025 for me. I’m already adjusted to having high standards when it comes to Paul Thomas Anderson, but even I wasn’t prepared for just how perfect this thing ended up being. Much like Sinners, it’s everything I want in a movie. It’s compelling, it’s exciting, it’s some of the most fun I had in a theater this year, and, truthfully, it felt like the most important movie I saw in 2025. It’s so intrinsically connected to the current state of the country while also tying into more universal fears like fatherhood and worrying about what kind of world you’re gonna leave behind for your children. There’s something so uplifting about knowing there are people out there fighting the good fight, and it really rallies you into having hope that we’re all gonna make it. But even with all that thematic mambo jumbo, this is still a highly accessible and highly entertaining thrill ride that I think will resonate with more audiences than you would think. Despite its serious socio-political themes, this thing is a glorified slapstick comedy at times, led by a pathetic-as-ever Leonardo DiCaprio, my favorite type of DiCaprio performances. His performance as Bob is just so damn hysterical, caught in this never-ending panic attack of worrying if he’s screwed everything up and if it’s too late to fix it. And then right on his heels is Sean Penn as Colonel Lockjaw; possibly the greatest supporting performance of this year and one of the best movie villains in recent memory. The guy wins the award for most fucked fucker, just being a downright loathsome man that actually has a few layers to him that, like the rest of the film, reflect a very particular corner of the US’s current zeitgeist. And the rest of the cast; Benicio del Toro, Regina Hall, Teyana Taylor and Chase Infinity all bring ample amounts of humanity, humor and emotion to the table. And at three hours, you never really feel the weight of time because this thing just blasts ahead at breakneck speed, never slowing down for a second. If it’s not thrilling you with a chase or a shootout, it’s making you cry from laughing with the Christmas Adventurers club or Bob falling off a roof. It takes a lot to be this entertaining and yet still so poignant, and you may find no better example of that combo than with One Battle After Another, my favorite film of 2025.
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