In a general sense, 2025 sucked. The United States seems to have been transformed into a foul combination of kakistocracy and plutocracy, while sliding pell mell into fascism. Innocent people are being arrested and disappeared to God knows where. Real Christianity feels further away than ever, while gleeful cruelty feels like the law of the land. It would be an understatement to say that things are not great.

In a cinematic sense, however, 2025 kind of kicked ass. This year, we had excellent genre films, smart blockbusters, affecting documentaries, and indie films that punched far beyond their weight. If you liked movies this year, you had an embarrassment of riches. If you didn’t like movies this year? You didn’t see enough of them. 

I did, so let’s talk about my top ten films of the year. As usual, these are listed in no particular order. They are:

• Wake Up Dead Man – The third entry in Rian Johnson’s Benoit Blanc mystery series is the best. We have a compelling mystery, witty comedy, a cast firing on all cylinders, and a movie unafraid to dig into what’s grievously wrong with modern Christianity and what’s gloriously right with it.
• The North – Two friends brave a hike that’s close to four hundred miles, yet the real test will be with their friendship. I still remember director Bart Schrijver’s quote, “When you make a film about hiking, I believe you also have to hike.” He, the actors, and the crew hiked and shot the film simultaneously. They delivered a film of lonely power and subtle characterization.
• Magnetosphere – A coming of age film that deals with the pains of first love, first moving house, first real friendship, and first heartbreak. All from the point of view of a perceptive girl who lives with synesthesia. It’s a sweet natured indie film that deserves to be in the conversation alongside Stand By Me.
• Highest 2 Lowest – Look, you simply cannot miss when you have Denzel Washington and Spike Lee teaming up. You even more cannot miss when you have Lee adapting Akira Kurosawa’s High and Low. Come for the legendary team up, stay for the morality play about a wealthy music producer and a botched kidnapping.
• Good Boy – Yes, I’m maybe the only critic evangelizing for the horror movie about a dog. A film three years into production yielded real unease, genuine heartbreak, and a performance by a dog who had no idea he was the lead of a movie. Nominate Indy for Best Actor, you cowards.
• From Ground Zero: Stories From Gaza – This is one of the most astounding things I’ve ever seen. An anthology film of twenty-two shorts, all made by people living in Gaza while under siege. In the midst of a war zone comes animation, rueful comedy, and searing tragedy. Above all comes hope, and that’s thanks to the unyielding power of cinema. 
• Superman – I have a feeling we might be coming to the end of the superhero boom. That’s due to corporate meddling, a failure of imagination, and changing tastes. I don’t know if James Gunn’s reboot of the DC Universe will have staying power. But I appreciate that he made a movie about the first modern superhero, and showed that Superman’s most powerful ability is decency.
• 28 Years Later – This film is more than the beginning of a new trilogy, and Danny Boyle has done more than make a zombie movie. He took enormous risks and delivered something intense, scary, dramatic, and deeply sad. I watched it again recently and remain impressed that a genre film can so effectively dig up our feelings about death and dying.
• One Battle After Another – Mea culpa, I should have reviewed this for you. Paul Thomas Anderson has made a triumph. It’s a kickass action movie, a drama about encroaching fascism, a comedy about an ex-radical stoner trying to save his daughter, and so much more. We don’t deserve movies this good.
• Sinners – Put a tommy gun to my head and I might say this is the best film of the year. The vampire action is both awesome, and is the least interesting aspect of this passion project. Ryan Coogler has defeated 2025 with a vivid portrayal of Black life in the 1930s, razor sharp characterization, and maybe the best musical number I’ve ever seen.

Honorable Mentions*: Roofman, Thunderbolts**, Tim Travers and the Time Travelers Paradox, The Naked Gun, Eddington, This Is Your Song, Drop, Black Bag, F1, Mickey 17, The Phoenician Scheme, The Long Walk, Liquor Bank, Weapons, Marty Supreme, Friendship, Predator: Badlands, Frankenstein, The Killing Roads, The Gorge, Ballerina***, K-Pop Demon Hunters, The Running Man

Didn’t See: Hamnet, Avatar: Fire and Ash, No Other Choice, Sorry Baby, The Materialists, The Secret Agent, Presence, Blue Moon, The Testament of Ann Lee, Train Dreams, If I Had Legs I’d Kick You, Bugonia

*I told you this was a kickass year for movies.

**Technically, this isn’t a footnote, because the title of Thunderbolts* is actually Thunderbolts*. Wait, that actually makes it a footnote, then!

***As a narrative, Ballerina isn’t very good. As a movie with a third act featuring a mountain village of assassins and an extended flamethrower duel, it’s a blast.

Tim Brennan Movie Critic

Tim has been alarmingly enthusiastic about movies ever since childhood. He grew up in Boulder and, foolishly, left Colorado to study Communications in Washington State. Making matters worse, he moved to Connecticut after meeting his too-good-for-him wife. Drawn by the Rockies and a mild climate, he triumphantly returned and settled down back in Boulder County. He's written numerous screenplays, loves hiking, and embarrassed himself in front of Samuel L. Jackson. True story.