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: FRANKENSTEIN

 

A brilliant but egotistical scientist brings a monstrous creature to life in a daring experiment that ultimately leads to the undoing of both the creator and his tragic creation.

Director: Guillermo del Toro

Cast: Oscar Isaac, Jacob Elordi, Mia Goth, Felix Kammerer, David Bradley, Lars Mikkelsen, Christian Convery, Charles Dance, Christoph Waltz

Release Date: August 30, 2025

Genre: Drama, Fantasy, Horror, Sci-Fi

Rated R for bloody violence and grisly images.

Runtime: 2h 29m

Review:

Guillermo del Toro's visually lavish adaptation of Frankenstein is meticulously constructed and emotionally moving thanks to stellar performances from its excellent cast.  Del Toro's film grabs you from the open sequence especially once it moves into its flashback sequences which are garishly gothic feast for the eyes.  His sensibilities are perfectly suited for his take on The Modern Prometheus with every sequence and shot carefully crafted which result in some rather mesmerizing moments that will stick with you long after the film has ended.  Plenty of credit has to be given to Dan Laustsen’s stunning cinematography along with Kate Hawley’s eye-catching costume design both of which are certain to garner awards attention when the time comes.  There's plenty to appreciate on a superficial level but Guillermo del Toro's ability to find the emotional weight and resonance to his monsters are on full display here as there's a steady sense of mournful melancholy that permeates the entire film.  It’s a thoughtful and measured approach powered by a soulful performance from Jacob Elordi which is an evocative mix of physicality and subtle humanity.   His 6-foot 5-inch frame is perfectly suited for The Creature but through all the prosthetics he manages to give his character so much emotional depth especially once he takes center stage.  Oscar Isaac gleefully bites into the role of Victor Frankenstein by bringing an unbridled sense of unchecked self-confidence and intellect particularly in the early act as he's manically trying to bring his creation to life.  Christoph Waltz's plays his benefactor funding his experience, but he's given surprisingly little to do during his limited screentime which feels like a missed opportunity.  Felix Kammerer and Mia Goth play his brother and fiancée with Goth delivering strong work.  Goth and Isaac have fun, playful chemistry together as they both find each other intellectually fascinating diversions.  Goth adds layers to a role that could have simply come off as a one note love interest.  It is hard to take your eyes off any of them as they deliver thoroughly engaging and thoughtful performances that make the film's two hour and a half runtime fly by.  Frankenstein is nothing more than a triumph for del Toro and his entire cast as they've created a seminal adaptation of Mary Shelley's work by capturing its heart and soul.  

A

Cindy Prascik’s Review of I, Frankenstein

Dearest Blog, with the possibility of snow-derailed plans hanging over my Saturday, I hopped out to the movies on opening night for I, Frankenstein. I'd been looking forward to it far too much for far too long to risk a weather delay. (You can stop laughing anytime.) Never worry, though, dear reader(s), I was on my way OUT as the Friday-night teens were on their way IN.

Spoiler level here will be mild-ish, nothing you wouldn't know or have guessed from the trailers.

In the present day, Victor Frankenstein's creation lands in the middle of a centuries-old war between supernatural species.
If you were online for three minutes before happening upon this blog, you've probably already seen an item or two saying how terrible this movie is, or how ridiculous...or probably both. Here I shall provide you the counterpoint.

Yes, I, Frankenstein is cheesy and offers one of the most obvious reveals in the history of movie reveals, but it's also got a likable, recognizable cast, some groovy effects, and one especially well-choreographed fight scene that I'll probably watch ten times in a row as soon as I put my hands on the DVD. Typically for this sort of film, there's a Randomly Hot Dude I've never seen before who has two lines and dies in the first 20 minutes...but now I have a crush and have to spend $100 picking up all his terrible old movies on Amazon. It also has the occasional nod to the title character's iconic nature, and, unlike your friendly neighborhood Best Picture nominee, is smart enough not to wear out its welcome.

Aaron Eckhart has long since proved himself capable, and he's an easy watch in the lead. If the movie takes an extra moment to linger gratuitously on his perfectly sculpted abs, well...no complaints here! It goes without saying Bill Nighy is overqualified for his role, but he's supremely entertaining and the movie is better for having him. (Somehow I couldn't stop picturing his and Gary Oldman's agents fistfighting over these easy-money parts...Gary gets Robocop, Bill gets Frankenstein!) Miranda Otto and Yvonne Strahovski are fine in predictable female roles. Best surprise was the delicious Aden Young turning up in a small but important part.

I, Frankenstein clocks in at a tight 93 minutes and is rated PG13 for "sequences of intense fantasy action and violence throughout."

I will respectfully but emphatically disagree with anyone who trashes this movie. It's a terrific bit of escapism from the so-bad-it's-good school, and, for my money, is destined to become a cult classic. Of a possible nine Weasleys, I, Frankenstein gets seven.

Until next time...



Hey, Doc, next time you're making these, don't forget mine, m-kay?