Aaron’s Top Ten Favorite Films of 2025

We’ve reached the end of 2025, and even considering how everything else around us has been affected, it’s been another strong year for film. As always, I’d argue that if one doesn’t believe that to be the case, I’d implore them to broaden their horizons. Regardless, the near-nonstop mix of theater-going opportunities and streaming options allowed me to watch over 250 new films. Narrowing down many good-to-great-to-incredible movies to merely 50 was a fun task, as usual, and there’s so much variety here. From ambitious epics to moving minimalist features and everything in between. So, here is my complete list of favorites for 2025, with plenty of honorable and special mentions. Reviews are linked where applicable, and availability is specified for the top ten. PLUS, as per usual, I’ve linked fun Easter Eggs in every picture you see (If the site is acting funky, “Right-click” or hold the image, and open it in a new tab). Enjoy!

Movies I Missed:

BLKNWS: Terms & Conditions, Cloud, Familiar Touch, Little Amelie or the Character of Rain, Misericordia, My Undesirable Friends: Part I – Last Air in Moscow, Peter Hujar’s Day, Predators, Rounding, She Rides Shotgun, Sister Midnight, Suspended Time, The Alabama Solution, The Love That Remains, The Plague, The President’s Cake, The Ugly Stepsister, The Voice of Hind Rajab, Urchin

Special Mention:

Chainsaw Man – The Movie: Reza Arc – At the beginning of the year, I was merely aware of an anime focused on a man who could turn into a chainsaw devil when tasked to fight the other devils of the world. I’ve since caught up on the first season and greatly enjoyed this feature-length follow-up. It’s only here, as the film really doesn’t work without some familiarity. Still, those who are aware can take great joy in seeing some stunning animation, hearing a terrific soundtrack, and being a witness to what may technically be the best romantic comedy of the year.

Dangerous Animals – Shark movies are a dime a dozen these days, so it’s a real treat to get one with just enough going on to bring it to a higher level. This story of a serial killer who poses as a boat captain who allows his passengers to participate in shark cage diving is perfect B-movie material. An unhinged Jai Courtney does the job as our eccentric killer, but Hassie Harrison holds her own as his latest potential victim.

Grand Theft Hamlet – At a time when video games and cinematic culture are finding more ways to come together, this fascinating and amusing documentary found a great way to explore new territory. Two actors came together during lockdown and, using the world of Grand Theft Auto Online, staged a production of “Hamlet,” including setting up auditions, advertising the show, and performing it live. The layers of this story only add to the genuine fascination I’ve had with this film since seeing it.

Freaky Tales – Several years after delivering a billion-dollar-grossing Captain Marvel movie, indie filmmakers Anna Boden and Ryan Fleck went back to their roots with a bit more cache to deliver a funky 80s anthology movie set in Oakland. It features fun performances, at least one key cameo, memorable moments, and other elements that will ensure it has a cult following in the years to come. I described it once as Sin City crossed with Repo Man, with some hip-hop thrown in, and I’ll stand by it.

The Furious – Basically here because I have no idea when it’s coming out, I watched this film at Beyond Fest, and it delivered the best all-out martial arts brawler experience I’ve seen since The Raid films. Combining an international crew of martial arts stunt performers with a simple setup yields a wide variety of colorful action sequences, driven by ingeniously designed choreography and dedication to the craft. It’s great stuff.

Love, Brooklyn – One of my favorite debuts from Sundance back in January, it’s a simple enough story focusing on three Black Brooklynites caught in an unbalanced love triangle. Being set in Brooklyn, there’s also a focus on how rapidly gentrification is occurring. Back in the ’90s and 2000s, we were getting Black stories from major studios on a somewhat regular basis, without the need to turn them into gangster dramas or a look at severe Black pain based around police brutality or prison life. Now, a film like Love, Brooklyn must scrap together money from various producers and open as a small indie. In time, things may change again, but fortunately, this movie is still well worth seeking out.

MegaDoc – Last year, Francis Ford Coppola unleashed Megalopolis, his sci-fi passion project, on the world to a mixed reception. This year, we get a documentary that offers very little insight into the genesis of that project, but a lot of context about his methods when working with the actors. It’s a fascinating fly-on-the-wall approach allowing us to see things like Jon Voight not being stirred up by politics and just acting like a regular guy, Aubrey Plaza working as seemingly the one performer who “gets it,” and best of all, Shia LaBeouf’s continual efforts to rile up Coppola, creating some of the best and funniest on-screen arguments of the year.

O Horizon / I Hate Myself and Want to Die – Two more films mentioned here since they have yet to be released officially. That said, they were two of my favorite films seen at the Santa Barbara International Film Festival, and I want to be sure to give them their due. O Horizon features strong performances and one of the better stories I’ve seen about incorporating A.I. into everyday life, without resorting to action-oriented extremes. I Hate Myself and Want to Die presents a dark comedy that is all-around well-assembled and as engaging as its provocative title suggests. Hopefully, more will be able to see these films soon.

One of Them Days – Fun fact – this was the first theatrical R-rated female Black comedy since 2017’s Girls Trip. Not only did it open alongside a new Wolf Man reboot, but it had much stronger reviews and ended up performing better in its opening weekend – and I’m sure Hollywood will learn nothing from any of this. Regardless, One of Them Days, much like Love, Brooklyn doesn’t ask for much more from its audience than to be entertained. It’s a funny, contained buddy comedy with great work from Keke Palmer and SZA, and it shows precisely why we should be getting more comedies in theaters, let alone ones with appeal extending beyond what is assumed.

Roofman – Speaking of contained comedic efforts, Roofman was done dirty. Sold a bit more like a wacky comedy than the compelling true-to-life comedy-drama it actually is, this is the sort of film that could have easily grown based on word of mouth if it were either a platform release or advertised more accurately. As it stands, this is a very likable story about a nice-guy criminal, with Channing Tatum giving one of his very best performances and Kirsten Dunst seemingly effortlessly showing just how strong she can be as a single mom looking out for herself and her kids. Yes, there are some fun hijinks to go with this story, along with a colorful cast, and it should have easily clicked better under stronger circumstances.

Runner-Ups (Ranked 50-21):

Honorable Mentions (Ranked 20-11):

The Top Ten:

“Listen, you either build or destroy, beloved. I think you gotta be a little crazy sometimes in this world to get what you want.”

10. Highest 2 Lowest

This one had me from the get-go. Spike Lee reuniting with Denzel Washington for a modern take on Akira Kurosawa’s classic kidnapping drama, High & Low? That sounded fantastic, and it delivered. Working very deliberately as a film that builds towards becoming more alive as the plot unfolds, we see an accomplished lifestyle quickly upset by a criminal plot that forces a music mogul to reconnect with aspects of his life that could prove quite valuable. Capturing various parts of New York City with the vibrancy Lee knows how to bring to movies, there’s plenty to absorb thanks to the director’s passion. On top of this, between its accomplished old-fashioned score and a few new solid tracks, including some by co-star A$AP Rocky, this is a movie that doesn’t rely solely on the always terrific Washington to succeed. Instead, everything and everyone, from high to low, is on hand to deliver. (Available on Apple TV+)

“It’s been a while since we had a traitor to dinner. At least knowingly.”

9. Black Bag

The coolest movie on my list, which is far from a new sentiment when it comes to assessing the higher profile films from director Steven Soderbergh. As I seem to keep saying, the acclaimed filmmaker has spent several years dropping off a new film that is either an experimental take or a fun caper, only to go back to wherever he came from and tinker with new ideas. This year, Soderbergh dropped two films, theatrically, no less (after years of streaming releases), and while Presence was an interesting inversion of a haunted house story, Black Bag is a fully realized espionage thriller for adults. With a competent, sexy cast, this is a movie that knows how to prioritize wit, dialogue, and mannerisms over action, and the results are terrifically entertaining. (Available on Peacock)

“Hi, are we related?”

8. Bob Trevino Likes It

Perhaps the most unassuming film on my list, Bob Trevino Likes It is an absolute joy, with an emotional finale that only solidifies how involving the story is. Functioning as an indie film with some familiar ideas, such as a troubled young woman, a harsh father, and an unexpected friendship/mentor to guide things in more positive directions until that also becomes challenged in some way, this is a movie less about what sorts of innovations writer/director Tracie Laymon is bringing to the table, and more about the simple sweetness that amounts from this journey based on true events involving our director. Not at all hurting are the outstanding, very vulnerable performances by stars Barbie Ferreira and John Leguizamo. A lot of great elements allowed this little movie to get made, and things are better for it. (Available on HULU)

“Why did you destroy our lives?”

7. It Was Just an Accident

Director Jafar Panahi has made a career out of the films he’s not been allowed by his country to make, and here he is with another remarkable effort. Filmed in secret in Iran, this is the sort of fitting plot that would have to go along with the efforts to get made, as we follow a group of former political prisoners determining what they should do with the man they believe was their tormentor. What the film may lack in the extra metacommentary that is having Panahi appear in the movie himself, like his previous effort No Bears, is made up for by establishing a level of confidence in the filmmaking by way of strong performances, a choice not to have any score, and the incorporation of some genuinely funny moments amid all of the tension that builds throughout. On top of all this, we get an ending that truly floored me, and the film soars above and beyond, no matter what supposed limits could have been imposed on it. (Available on VOD)

“Is this what the end of the world feels like?”

6. Sirāt

Here’s one of my biggest surprises as far as films that came out of nowhere for me, and delivered. Oliver Laxe’s Sirāt, Spain’s submission for Best International Feature, starts as this mission for a father, played by Sergi López (the evil general from Pan’s Labyrinth), to find his missing daughter, who is somewhere in the Moroccan deserts, partying at different raves. It turns into a culture-clash road movie, requiring the father to team up with a convoy of ravers in hopes of finding her and, in the process, understanding their way of life as they cross this dystopian-like wasteland. The film becomes more thrilling as it goes along, and wild shifts in tone and the sudden inclusion of government-related turbulence along the way allow it to explore deeper ideas. Combining elements of Sorcerer, Nomadland, and even Mad Max, Sirāt hasn’t left my mind. If anything, the terrific electronic soundtrack by Kangding Ray has only helped to amplify my appreciation for it. (Previously released for a brief Oscar qualifying run. Opening in theaters February 2026)

“There were once passageways to the old world; strange trails, hidden paths. You’d turn a corner and suddenly find yourself face-to-face with the great mystery, the foundation of all things. And even though that old world is gone now, even though it’s been rolled up like a scroll and put somewhere, you can still feel the echo of it.”

5. Train Dreams

Last year, director Clint Bentley co-wrote Sing Sing, which received widespread acclaim for the human story it told from within a New York penitentiary. Train Dreams couldn’t seem more different, though it takes a look at the life of a single individual, set against the beautiful and ever-changing world around him, to tell another very human story. Joel Edgerton is terrific in this quiet performance, which allows him to take in and observe so much around him without ever coming off as merely a reactionary character. His interactions with a few supporting characters, including an especially great William H. Macy, give me plenty of reasons to find new ways to approach the beautiful scenery on display. Moreover, here’s another film with what is easily one of my favorite ending moments to seal this all up in a perfect little package. (Available on Netflix)

“I don’t respond to my clients’ dream emails.”

4. If I Had Legs I’d Kick You

The name Bronstein is about to be mentioned a lot, as this film is directed by Mary Bronstein, who is married to Ronald Bronstein, one of the producers and co-writer/editor of films by the Safdie Brothers. More importantly, however, when it comes to Mary Bronstein, she’s delivered one wild psychological drama that eeks out some black humor now and again, but is more of a battleground for Rose Byrne’s Linda, a mother being pushed to her limits by everything around her, and nothing in return comes to lend her any help. The fact that this film is as engrossing and oddly entertaining as it is comes from both the editing and the directorial style, which are rooted far more in the emotions of the scene than in the story. If I Had Legs I’d Kick You is also highly dependent on the work of Byrne, who gives my favorite performance of the entire year, along with solid support from A$AP Rocky (his second mention in this article) and a very dry, against-type Conan O’Brien. Much like that unexpected casting choice, expect the unexpected to help deal with the stress this film effectively drives home. (Available on VOD)

“I’m gonna step up in a way you can’t even imagine.”

3. Marty Supreme

While Benny Safdie’s Smashing Machine didn’t quite thrill me or blow me away, despite solid effort from Dwayne “The Rock” Johnson,” Josh Safdie didn’t let going solo get in the way of delivering a film that somehow allows for all the anxiety created by our lead character serve as a gateway to the entertaining thrill ride that this movie functions as. Much like Uncut Gems, this nerve-racking character study never lets up. It’s also afforded far more scope and scale, given the larger budget allotted by A24, allowing Safdie to fill the frame with locations, recognizable faces, tons of extras, various period details, and more. At the core is Timothée Chalamet delivering what may be his best performance so far (the kid has a lot of future ahead of him), as a ping-pong prodigy / smart-aleck hustler, who gets in over his head so many times that it’s astounding he doesn’t get it chopped off, given how close to danger he often manages to come. (Available in theaters)

“You know something? Maybe once a week, I wake up paralyzed, reliving that night. But before the sun went down, I think that was the best day of my life.”

2. Sinners

One of the year’s greatest success stories was seeing Ryan Coogler, an incredibly accomplished Black director, use the goodwill earned from delivering a couple of wildly successful Black Panther films and Creed to support his decision to make a big-budget, original, R-rated genre mashup. Sinners is a period drama, a bluesy musical, and a vampire thriller all rolled into one. It’s devilishly entertaining and electrifying to watch. Michael B. Jordan delivers some of his best work yet in a dual role. Any of the supporting cast can be considered one of the film’s best elements, as they are all excellent. And yet, it’s Coogler’s efforts to fully maximize the experience by shooting on 70mm IMAX film and with Ultra Panavision cameras to give this movie a grand presentation. As a means to explore Black culture through community, history, music, and folk tales, Sinners goes above and beyond to deliver something highly specific yet totally accessible to all. That it happens to be not only the year’s best horror film but one of the best films of the year in general only adds to what an accomplishment this is, as another win for Coogler and all involved. (Available on HBO Max)

“Are you happy? Do you have love? What will you do when you get older? Will you try to change the world as I did? We failed, but maybe you will not. Maybe you will be the one who puts the world right.”

1. One Battle After Another

I’m not sure if it means anything that my two favorite films of the year were conceived and made with full IMAX presentations in mind, but it does speak to what a wonderful time the theatrical experience can be if one chooses to embrace all that is offered. Now, granted, not everyone can see Sinners or One Battle After Another on a giant IMAX screen, but it fortunately doesn’t diminish the power of these films. And so here we are with my number one film of the year, a thrilling yet character-focused action-comedy epic from director Paul Thomas Anderson. Working with the biggest budget he’s ever received and obtaining massive star power to feature on screen, that hasn’t stopped the acclaimed director from leaning into all the qualities that make him one of our most exciting and original American filmmakers working today. At a glance, One Battle After Another works as an engrossing chase thriller dealing with how the past can catch up with you. At the same time, this movie serves as a dark comedy full of relevant political satire, allowing it to entertain, enlighten, and enliven the setups on display even further as we jump from one sprawling set piece to the next.

Leonardo DiCaprio is going all out to deliver another fantastic performance. Teyana Taylor owns the opening act in a way that should be rewarded. Sean Penn and Benicio del Toro both create incredibly memorable supporting characters. And newcomer Chase Infiniti serves as the film’s emotional core, not letting any of the other veteran performers push her essential work aside. On top of all of this, there are hysterical conversations, bravura directorial moments, and one of the best car chases I’ve seen in recent years. This movie is a full meal of a film that I’ve barely unraveled here, but just know, it stands firm as the year’s best. (Available on VOD)

***

This concludes my list of favorite films of 2025. Lots of remarkable cinema out there, and whether I saw movies in the theater or at home, I once again enjoyed the assortment of new releases that found their way onto my list. I hope others discover plenty of films to enjoy as well. Be sure to look at some of the other recent lists I’ve put together, including my picks for the Best “New to Me” films of the year and my upcoming “Favorite Movie Scenes of 2025.” Additionally, feel free to hear more of my thoughts on the year’s releases, along with many others, via the podcast I’ve co-hosted for over a decade with my pal Abe. Coming soon will also be a list of my “Most Anticipated Films of 2026,” which will again speak for my expectation of further cinematic ambition I’m bound to see. Thanks for reading. Have a happy New Year with film or otherwise!