My 10 Favorite Films of 2025

As 2025 has come to a close and I look back at the 100 movies I’ve reviewed its time to look back and choose my 10 favorite films along with some honorable mentions.  As usual, these movies are in no particular order and aren’t necessarily based on my original rating.  Instead, these films just left the biggest impressions on me and proved to be memorable for one reason or another.  Some films are destined to be awards darlings; a handful are horror films simply because it’s my favorite genre and then there are just some films that took me by surprise. 

The Ugly Stepsister

Norwegian film director and screenwriter Emilie Blichfeldt debut film is impressive deconstruction of the Cinderella fairy tale powered by a knockout performance from its star, Lea Myren.  The visuals and costuming of the darkly comedic body horror tale are all top notch throughout but the thematic layers underneath all its gruesome ickiness are what really make this import stand out.

The Ugly Stepsister Review

Sinners

While I still hold that the basic plotting of Sinners is pretty much a redux of a From Dusk till Dawn you can’t deny the level of craftmanship behind and in front of the camera.  Boasting a deeper story than its pulpy predecessor and packed full of strong performances across the board, Ryan Coogler delivers a memorable film that’s exemplified by its time bending musical number that truly a transcendent moment.

Sinners Review

Bring Her Back

I was one of the few people who didn’t care for Danny and Michael Philippou’s debut film Talk to Me, so I wasn’t expecting much from their sophomore effort.  So, I was shocked at how much more refined and darkly elegant Bring Her Back turns out to be with its heavier emphasis on mood punctuated by moments of brutal horror.  The performances are all stellar, but Sally Hawkins keeps the whole thing together with an eccentric and crazed turn that deserves awards attention.

Bring Her Back Review

Weapons

I can say that I enjoyed most of Zach Cregger 2022’s Barbarian I did feel like it feel apart in the final act.  His Pulp Fictionesque construction of Weapons just stepped up his game as the varying points of view keeps the audience off balance as the central mystery is revealed.  By the time the reveal occurs, the film has dug its claws into audience which carries them through its darkly funny, kinetic and memorable final act

Weapons Review

The Long Walk

Stephen King’s 1979 novel The Long Walk has always been a personal favorite of mine, so the cinematic adaptation had some high expectations to meet.  Francis Lawrence, with a script from JT Mollner, delivers one of the best King adaptations in recent memory that captures the heart and soul of his stories with its heartfelt sentimentally paired with unrelenting horrors.  This tale lacks the supernatural elements of his other works with its simplistic plot playing out like a twisted version of Stand By Me and The Running Man powered by excellent turns from its central duo of Cooper Hoffman and David Jonsson.

The Long Walk Review

One Battle After Another

Paul Thomas Anderson’s thematically packed epic is the kind of cinematic journey that grabs you from the start and rarely lets up.  At its base, its simplistic story of Leonardo DiCaprio’s burnt-out revolutionary trying to protect and save his daughter from an increasingly chaotic world is instantly relatable and timely.  There’s plenty to dissect about the story’s narrative that makes the film feel like the right film at the right time with its deconstruction of extremism carried by excellent turns from its collection of A list talent. 

One Battle After Another Review

Better Man

This is one of the more random surprises of the year, a musical biopic about an artist that I’m not terribly familiar with could have been a paint by the numbers snooze fest.  Its central gimmick of having the main character be a CGI monkey was enough of a hook to make it a curiosity but the approach to the story which didn’t pull any punches proved to be incredibly engaging and heartfelt making it a memorable experience that very few people saw. 

Better Man Review

Frankenstein

It shouldn’t come as any surprise that Guillermo del Toro’s adaptation of Frankenstein is an elegant, visually stunning endeavor that finds the emotional center of the story.  Oscar Isaac, Jacob Elordi and Mia Goth deliver nuanced turns that give the film a level of refinement that goes hand in hand with its gothic ascetics.  Elordi, in particular, makes for a soulful monster who is searching for meaning in his creation from an uncaring, careless “father” in the form of Oscar Isaac’s Victor. 

Frankenstein Review

Bugonia

Yorgos Lanthimos and Emma Stone’s 4th collaboration together continues their explorations of their avant guard cinematic taste.  This remake of the 2003 South Korean film, Save the Green Planet!, is an actor’s movie with Emma Stone and Jesse Plemons being utterly captivating every second they are onscreen.  The plot keeps the audience guessing until the end with Lanthimos playing his cards very close to the vest, which results in a rather electric finale. 

Bugonia Review

Hamnet

Chloé Zhao meditation on love and loss is restrained but engrossing from its opening shot to its close.  Jessie Buckley and Paul Mescal are excellent together, but this film is a showcase for Buckley impressive depth of talent that just makes you feel every emotional peak and heartbreaking valley throughout with an undeniable sense of veracity. 

Hamnet Review

Honorable Mentions

Eternity

An old-fashioned throwback that takes an inventive conceit to hook you in and have the cast keep you engaged the rest of the way.  The central trio of Elizabeth Olsen, Miles Teller, and Callum Turner are all clearly having fun but it’s Olsen who makes this whole thing work. 

Eternity Review

Good Boy

This is one of the most inventive films of the year, a three-year passion project by director Ben Leonberg.  The possession storyline is fairly basic once you break it down but using the dog’s POV is a stroke of genius as it creates a distinctive experience that has you connecting with nearly every moment of fear and empathy from the dog accomplished through a series of painstakingly well-placed shots. 

Good Boy Review

Superman

James Gunn’s first live action film in the new DC Universe had a lot of work to do and it succeeds in setting up the new world and his general approach.  Lighter, funnier and larger in scope, Gunn’s film offers up plenty to like including David Corenswet’s likeable take on Superman.  Corenswet’s Superman does get lost a bit in his own film but that doesn’t prove to be a big enough misstep from this being one of the more enjoyable comic book movies of the year.

Superman Review

28 Years Later

Danny Boyle revives the franchise he started 18 years after the last entry which subverts expectations by delivering a coming-of-age story as opposed to a direct continuation or redux of the original story.  Boyle’s film is still visceral and energetic in a way that’s gripping especially during some well-constructed set pieces. 

28 Years Later Review

Final Destination: Bloodlines

The sixth entry in any horror franchise isn’t usually going to give the series a boost in the arm the way this revival does.  This series has always been rather tongue in cheek with this entry fully embracing the absurdity of the increasingly complicated deaths with gleefully gory results.  It also gives legendary horror icon, Tony Todd, a wonderful moment that serves as fitting send off before his death a few months later.  

Final Destination: Bloodlines Review

Black Bag

One of two Steven Soderbergh’s films in 2025, Black Bag, is a sleek and smart spy thriller that leans more on the battle of wits as opposed to outsized action.  Cate Blanchett and Michael Fassbender are perfectly matched onscreen with both feeding off each other’s energy to create a singular sort of chemistry that propels this underappreciated film. 

Black Bag Review

MOVIE REVIEW: ANACONDA

 

Best friends Griff and Doug have always dreamed of remaking their all-time favorite movie "Anaconda." When a midlife crisis pushes them to finally go for it, they assemble a crew and head deep into the jungles of the Amazon to start filming. However, life soon imitates art when a gigantic anaconda with a thirst for blood starts hunting them down.

Director: Tom Gormican

Cast: Paul Rudd, Jack Black, Steve Zahn, Thandiwe Newton, Daniela Melchior, Selton Mello

Release Date: December 25, 202

Genre: Action, Adventure, Comedy

Rated PG-13 for violence/action, strong language, some drug use and suggestive references.

Runtime: 1h 40m

Review:

The meta of reboot Anaconda offers up a goofy conceit and solid collection of comedic stars should equal something far funnier than this utterly forgettable comedy that delivers a few solid laughs its overly complicated story keeps it from hitting Tropic Thunder level of satire.  Tom Gormican is a perfectly capable comedic director exemplified by his equally meta comedy, The Unbearable Weight of Massive Talent, from 2022 which took full advantage of its central conceit by focusing on the absurdity of it.  This film has a handful of well set up jokes but there are far too many that just fall flat as it tries to juggle way too many story threads that don’t really come together the way they should.  Instead of leaning into the sillier territory it offers up an utterly pointless gold mining storyline that wastes Daniela Melchior character and could have been easily excised with little overall impact.  Likewise, the main storyline of these childhood friends making their dreams a reality doesn’t land the way it should in spite of Paul Rudd, Jack Black, Steve Zahn and Thandiwe Newton solid chemistry together.  It attempts to set up a sweet story arch between them falls flat and keeps it from really nailing the zany meta comedy that should have been the focus.  When it does lean into that side of the story it does deliver some fun moments although they are more likely to leave you grinning than busting out in uncontrollable laughter.  Black delivers his usual manic energy which serves as a counter balance to Paul Rudd’s more nuanced approach.  Thandiwe Newton shows off some impressive comedic timing and Steve Zahn’s work leaves you wishing they’d given him a bit more to do.  Selton Mello who plays the snake handler, seems to be the only person in the cast that fully embraces the absurdity of his character but unfortunately, he's taken off the screen fairly early on.  Anaconda isn’t the total dumpster fire that it could have been, but it is rather forgettable which leaves you wondering why they bothered at all.

C

MOVIE REVIEW: MARTY SUPREME

 

In the 1950s, young Marty Mauser pursues his dream of becoming a champion table-tennis player.

Director: Josh Safdie

Cast: Timothée Chalamet, Gwyneth Paltrow, Odessa A'zion, Kevin O'Leary, Tyler Okonma, Abel Ferrara, Fran Drescher

Release Date: December 25, 202

Genre: Drama, Sport

Rated R for language throughout, sexual content, some violent content/bloody images and nudity.

Runtime: 2h 29m

Review:

Marty Supreme is a chaotic but propulsive film from Josh Safdie that boasts a kinetic turn from Timothée Chalamet which drives the entire experience.  There’s an instant jolt of energy that pops off the screen as it takes off to a running start, rarely letting up during its two hour and half hour runtime.  Safdie quickly establishes the setting and cast of characters before moving into an impressively shot table tennis tournament.  The story moves at such a frenetic pace that only a few ill-advised musical choices take you out of the experience before you notice you’ve been fully engaged in a story about table tennis.  Timothée Chalamet magnetic central turn makes the entire engine churn as we follow his non-stop journey to achieve success.  Chalamet simply dissolves into the character who’s utterly charismatic and driven but incredibly flawed at the same time.  It’s a fascinating turn that shows off how talented he is as the film serves as a character study Marty’s drive and desires.  The character is ready made to be dissected as an example of what goes on in the head of a relentless competitor or even as a metaphor for the country as a whole.  There are plenty of layers that can be peeled off once it’s all said and done but Chalamet is simply the most interesting performer onscreen.  It helps that his character is given the largest amount of depth while the supporting characters prove to be far more one dimensional.   Gwyneth Paltrow and Odessa A'zion are both solid as respective love interest but we are given painfully little depth that leaves them feeling slightly underserved.  Kevin O'Leary, Tyler Okonma and Abel Ferrara likewise make the most of their screentime but there’s very little to any of them outside the superficial aspects offered up.  In the end, Marty Supreme is all about Timothée Chalamet’s performance, which creates the kind of cinematic gravitation pull that’s so enveloping that the rest feels almost unnecessary.  

A-

MOVIE REVIEW: SONG SUNG BLUES

Two down-on-their-luck performers form a Neil Diamond tribute band, proving it's never too late to find love and follow your dreams.

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Release Date: December 25, 202

Genre: Biography, Drama, History, Music, Musical

Rated PG-13 for thematic material, some strong language, some sexual material and brief drug use.

Runtime: 2h 13m

Review:

Song Sung Blues is earnest, almost to a fault, in its utterly non cynical approach to telling the peaks and valleys of Mike and Claire Sardina powered by a pair of stellar turns from Hugh Jackman and Kate Hudson.  Craig Brewer’s film carries an air of authenticity that borders on schmaltzy at various points during the runtime but thankfully veers away from at decisive moments in the film.  The opening act where the two fall in love and begin their rise as Lighting and Thunder with the two downtrodden dreamers finding their way to success.  Those moments are incredibly uplifting and hard to resist regardless of how you feel about Neil Diamond’s music because there’s just something rousing about the whole thing.  Brewer smartly lets his cast do the heavy lifting during the numerous musical numbers that pepper the film and serve as the beating heart of the whole thing.  That opening act is a wide eye exercise in exuberance in their unabashed pursuit of their dreams before tragedy brings it all to a screeching halt.  Once the story hits its middle segment it allows Jackman and Hudson to really flex their dramatic muscle as they provide an honesty to their performances that shows these people’s heart laid bare.  Both are fantastic during the series of well staged musical as they leave every ounce of energy on the stage but the quieter moments really display the breadth of their talent.  Their chemistry together makes the whole thing work so well that you can’t help but root for the couple to finally make it to the top, all thanks to their nuanced turns.  Song Sung Blues does suffer a bit from some overly hokey dialogue which fall flat in the hands of lesser performers but Jackman and Hudson take you on an emotional journey that makes you feel every triumph and heartache on a personal level.  

B+

MOVIE REVIEW: THE HOUSEMAID

 

Hoping for a fresh start, a young woman becomes a live-in maid for a wealthy couple who harbour sinister secrets.

Director: Paul Feig

Cast: Sydney Sweeney, Amanda Seyfried, Brandon Sklenar, Michele Morrone, Elizabeth Perkins

Release Date: December 19, 2025

Genre: Thriller, Psychological Thriller, Mystery

Rated R for strong/bloody violent content, sexual assault, sexual content, nudity and language.

Runtime:  2h 11m

Review:

The Housemaid is a tawdry throwback to the psychosexual thrillers from the 90’s powered by a devilishly unhinged performance from Amanda Seyfried that covers up some of the film’s more glaring warts.  Paul Feig delivers a beautifully acclimated film that carries the sort visual polish you’d come to expect from a director of his talent.  There are bits and pieces of his own comedic/thriller A Simple Favor scattered throughout as he creates the affluent world the characters inhabit exemplified by Seyfried’s Nina Winchester who’s perpetually draped in white clothing.  After initially setting the stage of the well to do perfection Sydney Sweeney’s Millie is hired into, it doesn’t take long for the rather large cracks in the façade to start to reveal themselves.  The passive aggressive hell hole Sweeney’s character finds herself is peppered with psychological torture that she endures thanks to her checkered past.  The story is fun although it telegraphs a number of its “shocking” reveals early on especially for those with a decerning eye since the construction isn’t as clever as it thinks it is.    Sydney Sweeney is solid if uninspired in the lead role with her character proving to be the least interesting person onscreen at any given time.  Sweeney has proven she’s capable of pulling off strong performances but here she’s fighting some choppy writing which has her character go from overly gullible to brutally street smart on the turn of a dime.  It’s a shame since the character’s checked past offers up plenty to work with but the film doesn’t bother offering up any real depth to her which feels like a massive misstep.   Brandon Sklenar plays up the heartthrob role he’s established in his recent turns in 2024’s It Ends with Us and 2025’s Drop with general ease with makes his character easy to like especially early on.  Ultimately, this film belongs to Amanda Seyfried with her truly twisted turn as Nina Winchester who may or may not be utterly insane.  Seyfried chews the screen up with impressive enthusiasm as she channels Faye Dunaway’s Mommie Dearest at various points during the film as she tortures Sweeney’s Millie almost from the moment she settles into the house.  She so captivating that there’s a noticeable dip in energy whenever her character disappears from the screen especially during the increasingly ludicrous final act which almost crashes the entire film.  As is, The Housemaid plays like an amalgam of The Hand that Rocks the Cradle, Single White Female and Sleeping with the Enemy that struggles to ultimately struggles to find its own voice.  

B-

MOVIE REVIEW: AVATAR: FIRE AND ASH

 

The conflict on Pandora escalates as Jake and Neytiri's family encounter a new, aggressive Na'vi tribe.

Director: James Cameron

Cast: Sam Worthington, Zoe Saldaña, Stephen Lang, Sigourney Weaver, Oona Chaplin, David Thewlis, Joel David Moore, CCH Pounder, Giovanni Ribisi, Dileep Rao, Matt Gerald, Kate Winslet, Cliff Curtis, Edie Falco, Brendan Cowell, Jemaine Clement, Britain Dalton, Trinity Bliss, Jack Champion, Bailey Bass, Filip Geljo, Duane Evans, Jr.

Release Date: December 19, 2025

Genre: Action, Adventure, Fantasy, Sci-Fi, Thriller

Rated PG-13 for intense sequences of violence and action, bloody images, some strong language, thematic elements and suggestive material

Runtime: 3h 17m

Review:

Avatar: Fire and Ash is a visual and technical marvel, much like the first two entries, that’s the rare spectacle that needs to be seen on the big screen however the story is far more clunky and repetitive than before which makes its three hours plus run feel far more taxing than it should.  James Cameron’s third entry in his franchise again shows off his innate ability to continually up the ante on creating an immersive cinematic experience that envelopes you from the moment the film starts.  The action sequences are truly mesmerizing and massive in scale across the board with the 3D experience here putting everything else out there to shame.  The aerial and water set sequences are an assault on the senses especially when he utilizes a POV approach that firmly places the audience with the characters which is visceral and thrilling. Those set pieces alone are worth the price of admission since it’s something that filmmakers haven’t been able to recreate with such a level of technical CGI mastery especially in 3D.  Issues start to pop up as the general gist of the story starts to reveal itself with the introduction of the Ash People led by Oona Chaplin’s Varang.  Initially they serve as intriguing antagonists, particularly Chaplin who’s motion capture performance is impressive throughout but their backstory and motivations is oddly thin and rushed before turning into a mirror of Jake Sully and Neytiri relationship with Varang and Stephen Lang’s Colonel Quaritch.  There is a fun psychedelic sequence between them which serves as their twisted courtship which is a trippy thing to experience in 3D.  Their relationship should make more of an impact than it does but Chaplin’s Varang characterization stops there with her becoming little more than a hence woman for Quaritch to finally recapture Sam Worthington’s Jake Sully.  Stephen Lang is still loads of fun as Quaritch but his character’s actions and motivations all change on a dime throughout the film which keeps him from being as menacing as he should be.  Sam Worthington and Zoe Saldaña are both able to ease back into the roles with little trouble with a layer of emotion added early as they deal with the death of their son in the previous films.  It gives them both a bit more to work with dramatically as both characters deal with that loss in different ways with Saldaña’s Neytiri simmering with resentment and anger towards humans which is mostly directed towards their adopted son Jack Champion’s "Spider".  Champion does his best in that role, but the character still feels awkwardly out of his place from the way he’s written to his general 90’s drug dealer meets Land of the Lost’s Cha-Ka.  The spotty writing extends to the other children, with Sigourney Weaver and Britain Dalton doing their best with the teen angst their characters experience for far different reasons.  It’s an odd mis mash of ideas that doesn’t work as well as it should especially considering the amount of screentime it is given with those moments dragging the film’s momentum to a standstill in between the visceral electricity of the action sequences.  It saps Avatar: Fire and Ash of its full potential which is a shame since these plays well as a trilogy capper to the story started in the original.   

B