Top Films of 2025: A Must-See List So Far

The chaos of awards season with its entirety many , many disputes — let alone a continuous procession of natural and man-made Disasters may have dominated much of the conversation this year, potentially overshadowing some of the less serious pleasures. To illustrate, consider the following films. Movies released during the typically slow periods at the beginning of the year often do not go on to contend for major awards like Oscars. However, that does not imply they should be overlooked or lacking creativity—take a look at what Steven Soderbergh accomplishes, for instance. Presence ) or anything less enjoyable or aspirational — how else should we describe the scene of two individuals mounting a comprehensive production? Hamlet inside the world of Grand Theft Auto Vulture’s film critics have managed to stay updated with everything. In this section, they will help you navigate through the essential movies released over the past several months.

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The list of all movies is organized according to their U.S. release dates, placing the newest releases at the beginning.

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Grand Tour

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Similar to an epic poem narrated by many voices, Miguel Gomes’s Grand Tour Is a cinematic achievement marked by unconventional breadth and a diffused elegance. By tracing the whimsical tale of two lovers traveling individually across East and Southeast Asia during the early 1900s, Gomes intertwines scripted sequences with documentary clips—some unmistakably contemporary, others appearing almost ageless. As the narrative progresses, the dialogue shifts fluidly between the linguistic traditions of each culture encountered: from Burmese transitioning into Thai, then Vietnamese, and further—a meandering, communal reverie. This Portuguese director, known for his avant-garde appeal characterized by both lightheartedness and rigor, has referred to the visual style of Grand Tour As capturing for him "the essence of the world," this creates a delightful paradox: Despite the sometimes preposterous and deliberately unnatural story of two spirits journeying across a land, he has created a piece that compels us to pay more attention to our actual world and the way we inhabit it. Bilge Ebiri

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➼ Read Bilge Ebiri’s full review of Grand Tour .

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The Friend

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Canine-centric films frequently populate our screens, yet Scott McGehee and David Siegel’s drama sets itself apart by avoiding the common trope of attributing human traits to its main canine character or voicing its thoughts. This poignant story revolves around Apollo, a dignified old Great Dane portrayed brilliantly by a talented dog named Bing. After Walter, Apollo's owner and Iris' close friend—an accomplished writer and professor played by Naomi Watts—suddenly passes away, he finds himself under Iris’ temporary guardianship. However, their living situation becomes complicated as they reside in a pet-prohibited rental unit within New York City’s bustling Manhattan neighborhood.
Despite these constraints, Iris decides to keep Apollo until she can find him another suitable home. Over time, however, both develop a deeper bond than anticipated. While this connection forms the emotional core of the narrative, the true depth lies in exploring the essence of caring for someone—or something else—and understanding that every soul remains inherently mysterious. Thus, at heart, this isn’t merely a tale juxtaposing humans against animals; rather, it delves into broader themes surrounding empathy and the enigma of existence.— B.E.

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➼ Read Bilge Ebiri’s full review of The Friend .

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A Working Man

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Not unlike last year’s The Beekeeper , A Working Man Jason Statham stars as an initially hesitant solitary avenger of the end times who reignites his exceptional abilities and navigates through a clandestine hierarchy within an isolated realm dominated by arrogant villains. The Beekeeper It wasn’t just about tech-savvy reptilians exploiting regular people; instead, we have human traffickers randomly abducting girls from clubs and connecting them to a web of gangsters operating within their own closed-off world filled with outdated regulations and flamboyant styles. Despite this shift, filmmaker David Ayer first gained recognition for realistic urban tales like Harsh Times and End of Watch , he isn’t aiming for even a hint of realism here. This time around, he employs the symbols from fairy tales to add a mythic edge to our protagonist’s deeds. It seems as though the entire movie unfolds in a parallel cosmos, giving everything a fantastical twist. Statham’s stoic, no-nonsense bruiser It slices through both narrative and visuals with precision. At its core, however, this film celebrates action-packed moments, ensuring viewers experience each bone-crunching punch, throat-slitting moment, and bullet-to-the-head intensely. B.E.

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➼ Read Bilge Ebiri’s full review of A Working Man .

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Secret Mall Apartment

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In 2003, a group of young, dislocated artists in Providence, Rhode Island, impulsively resolved to stay for a full seven days within the expansive new mall that dominated their area but ended up remaining for several years instead. By chance, they discovered a neglected, 750-square-foot "no-man's-land" tucked away deep within the vast confines of the Providence Place shopping complex, concealed behind dim and cluttered corridors. Transforming this obscure spot, these creative individuals gradually converted it into something resembling a makeshift home complete with furniture like sofas, televisions, lighting fixtures, tables, storage units, among others. The filmmaker Jeremy Workman presents an exhilarating yet poignant account through his documentary, allowing those same artists to narrate their experiences firsthand. A number of these creatives previously hailed from another local artist community called Fort Thunder, until urban renewal efforts led by the municipal government forced its closure—a process epitomized by the construction of the aforementioned mall. Consequently, reclaiming some semblance of personal living quarters amidst one of the underused sections of the mall became both symbolic resistance against displacement and ironic subversion of conventional norms. Utilizing archival low-resolution videos captured personally during that period along with current interviews featuring participants—many speaking publicly about this chapter of their lives for the very first time—Workman skillfully constructs this compelling narrative. B.E.

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➼ Read Bilge Ebiri’s full review of Secret Mall Apartment .

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Black Bag

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Steven Soderbergh’s latest pairs Cate Blanchett Michael Fassbender plays a pair of married spies who are deeply devoted to one another as they navigate dangers posed by their treacherous coworkers. Despite its polished feel, the movie remains engaging rather than cold, highlighting this aspect effectively. Soderbergh in God mode Centering around competent, smart, and unscrupulous individuals within Britain's intelligence service, David Koepp’s screenplay is incisive and captivating. The acting by Tom Burke, Regé-Jean Page, Naomie Harris, and particularly Marisa Abela stands out as nuanced, authentic, and just like the movie itself, thoroughly delightful. With Cate Blanchett’s impeccable style complemented by confident cinematography, this film serves up a veritable banquet for viewers seeking both visual allure and poignant emotion. As I previously penned, my review What ultimately seals the nature of the dynamics? Black Bag The chemistry between Fassbinder and Blanchett is striking. Separately, they exude refinement and glamour. Combined, their presence becomes overwhelmingly seductive. However, this goes beyond mere physical appeal and charm. Their interaction showcases mutual skill; both being exceptional listeners and conveyors who infuse each movement with delight." One character remarks to Fassbinder’s leading role, "Good Lord, that's intense." Angelica Jade Bastién

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➼ Read the complete article by Angelica Jade Bastié. review of Black Bag and Matt Zoller Seitz’s conversation with filmmaker Steven Soderbergh .

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Who by Fire

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Philippe Lesage’s movie begins with a scene reminiscent of Stanley Kubrick’s work. The Shining , although he hasn't directed a horror movie, the Québécois filmmaker grasps the elements of tension and anticipation. Who by Fire features several individuals converging at a woodland cabin, accompanied by the ensuing emotional turmoil. The narrative lacks conventional storytelling and avoids clear-cut themes and structures that typically guide viewers' perceptions, making them question who to despise or appreciate. Instead, the film presents characters whom the writer-director enjoys setting against one another in scenes reminiscent of tightly compressed slices of actual existence. Conversations over dinner frequently escalate into heated disputes, often filmed in continuous takes. Certain dialogues venture into awkwardly humorous territory without fully embracing Judd Apatow’s style. Regardless of its meandering and seemingly formless quality, Who by Fire It’s always engaging because Lesage and his performers infuse each moment with unexpected twists and thrills. We constantly anticipate some dramatic event unfolding. And indeed, what unfolds is nothing short of real life. B.E.

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➼ Read Bilge Ebiri’s full review of Who by Fire .

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The Day the Earth Exploded: A Looney Tunes Film

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That's why the Looney Tunes franchise has been built around shorts For much of its history, its silly, carefree reasoning and quick-witted humor seldom adapted well to full-length movies. Despite being grandiose in scope, it was relatively unambitious. The Day the Earth Exploded Is primarily meant as a parody of '50s science fiction and horror movies, yet it offers a delightfully zany take on contemporary Hollywood drama escalation. Executed with flair and speed, it adeptly embodies the Looney Tunes essence. The storyline is wonderfully absurd: A flying saucer infuses highly sought-after chewing gum with an extradimensional substance turning chewers into zombies, leaving warring foster siblings Daffy Duck and Porky Pig (voiced by Eric Bauza) as Earth's last hope for salvation. Their drawn-out escapades unfold amidst recognizable and cherished Looney Tunes visuals: picturesque azure heavens, lush emerald meadows, retro architectural designs... punctuated by sharp shifts in form, hue, and feel characteristic of this animation technique. Upon witnessing Daffy’s initial facial expansion, one feels akin to meeting up again with a long-lost companion. B.E.

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➼ Read Bilge Ebiri’s full review of The Day the Earth Exploded: A Looney Tunes Film .

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Eephus

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Carson Lund's latest movie captures the events of a community baseball game during a crisp autumn evening, and at first glance, it appears to be a traditional tale. baseball-as-life story As the movie progresses, its symbolic elements fade away, focusing instead on something simpler: the straightforward experience of spending time alongside others. Gradually, we acclimate ourselves to the film’s—and the video game’s—gentle pace until it seems as though an entire life span has slipped by unnoticed. "Eephus" alludes to a type of baseball pitch characterized by a lofty trajectory and minimal speed; despite appearing swift, it travels slowly enough to catch the hitter off guard. As stated, "he attempts to hit it normally, but he misses because it’s too late." This eephus pitch symbolizes how it can disrupt our perception of time. Despite the overt nature of this analogy, Lund handles it with humor and sincerity—a fitting description for the overall appeal of the film. While searching for deeper meanings, we find that life continues around us. B.E.

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➼ Read Bilge Ebiri’s full review of Eephus .

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Mickey 17

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Bong Joon-ho's inaugural fully English-language film stands out as a remarkably packed masterpiece—a dystopian narrative exploring the grim aspects of technological progress, a thrilling interstellar journey centered around efforts to settle a new world (which turns out to be already inhabited), and a scathingly humorous critique of hyper-capitalism. At its core, however, this movie delves into the story of Mickey Barnes, portrayed with great nuance by Robert Pattinson, who embodies various facets of his character; he is kind-hearted yet dim-witted and perpetually downcast. The crux lies in Mickey learning self-love rather than accepting every hardship inflicted upon him as justified. Despite its complexity, it might not S-tier Bong , an honor that belongs to Parasite , Memories of Murder , and Mother , but it’s still remarkably great. Alison Willmore

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➼ Read Alison Willmore’s full review of Mickey 17 and Willmore’s discussion with director Bong Joon Ho on the film’s ending.

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On Turning into a Guinea Fowl

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Rungano Nyoni’s delightful film received recognition with a Best Director award in the Un Certain Regard category at Cannes Festival last year. This poignant story centers around a young Zambian girl named Shula (played by Susan Chardy) who discovers her deceased Uncle Fred beside an isolated roadway late one evening. Consequently, she must assist her kinfolk in organizing his burial rites. In the following days, as part of this customary mourning ceremony—which unfolds in a peculiarly stratified manner—Shula along with several cousins finds herself entangled within an atmosphere rife with bizarre customs and judgments. Accusations against Fred's widow surface due to perceived inadequacies during her bereavement period; meanwhile, everything seems askew. Figures materialize inexplicably across different scenes, individuals critique others based on specific vocal inflections used when lamenting, and emotions resonate oppositely compared to typical reactions. Gradually uncovering details surrounding Shula’s familial dynamics explains much about individual behaviors throughout the narrative. What initially presents itself as comedic gradually morphs towards darker territory, revealing how various female characters navigate underlying traumas through distinct coping mechanisms. Despite its whimsical yet skewed aesthetic style, grounded deeply within unsettling undertones, the entire production explores societal norms perpetuating brutality and inequity. Ultimately, maintaining mental stability sometimes necessitates embracing some level of madness amidst chaos. B.E.

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➼ Read Bilge Ebiri’s full review of On Turning into a Guinea Fowl .

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In the Lost Lands

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Paul W.S. Anderson’s movie includes typical elements of the post-apocalyptic genre—devastated, smoke-filled environments; dilapidated urban areas marked by industry; and massive mines teeming with anonymous, chorusing crowds akin to those seen before. Mad Max: Fury Road — blended with components of medieval fantasy. However, you'll also encounter cowboys, witches, werewolves, and colossal skeletal beasts. Every frame appears as though plucked from a darkened grimoire filled with distorted, postmodern fables; they're eerie and somewhat surrealistic. Anderson excels at delivering intense, impactful action sequences, infusing even familiar narratives with a compelling aura of danger and brutality. In the Lost Lands boasts ample action sequences, yet their meticulously illustrated style, reminiscent of hand-drawn art, softens the harshness to some degree. Despite being an unusual project for this filmmaker, it remains a universe that easily captivates and immerses viewers. B.E.

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➼ Read Bilge Ebiri’s full review of In the Lost Lands .

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Last Breath

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The moment director Alex Parkinson begins guiding us through the intricacies of the vessel and the pressure-control mechanisms utilized by the deep-sea saturation divers in his latest underwater survival thriller, we feel confident about our cinematic journey. Right from the start, he immerses us in an authentic, palpable environment—a crucial element for generating tension. Last Breath recreates a terrifying 2012 incident, in which a deep-sea diver was stranded on the sea floor without oxygen during an attempt to fix a North Sea gas pipeline. And thanks to Parkinson’s showing us all these systems beforehand, once things start to break down (and they break down quite quickly), we immediately grasp the gravity of the situation. After that, it’s heart-attack city as we watch the men underwater (and those on the surface) do all they can to save their downed comrade. There’s an artful elegance to this film’s suspense as well. It feels like a great throwback thriller, one of those movies viewers will still be discovering years from now. — B.E.

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➼ Read Bilge Ebiri’s full review of Last Breath .

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Bridget Jones: Enamored of the Boy

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The fourth installment of the Bridget Jones series has been released directly onto Peacock, and in no way needed to be just as good as it is Renée Zellweger returns to reflect on grief, aging, and seeking purpose in life following the loss of a loved one (apologies to Mark Darcy, although Colin Firth appears briefly as a nostalgic figure). However, what truly elevates this romantic comedy isn’t Bridget’s flirtation with a younger man portrayed by Leo Woodall, which is enjoyable nonetheless. Instead, it’s her bond with the unrepentant womanizer Daniel Cleaver (played by Hugh Grant) that stands out. Now somewhat melancholic yet still irresistible, he has unexpectedly evolved into one of Bridget’s dearest confidants—a testament to how shared pasts can forge deep connections despite everything else changing over time. A.W.

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➼ Read Alison Willmore’s full review of Bridget Jones: Enamored of the Boy .

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Parthenope

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Paolo Sorrentino has encountered all your perspectives on the male gaze and now intends to challenge them with a film focusing on the life of an extraordinarily beautiful woman. However, in reality, Parthenope This movie isn't so much about a single stunning individual as it is about our concept of beauty itself, how it manifests, reflects, embodies, and gets interpreted. The character Parthenope—portrayed primarily by debutante Celeste Dalla Porta and later briefly by iconic Italian actress Stefania Sandrelli—is named after the mythological Siren linked historically to Sorrentino’s birthplace, Naples. Throughout this series-like film, she encounters various characters including youthful sweethearts, a jet-setting Lothario, a fading starlet, a mob boss, a lecherous clergy member, and notably, a visibly intoxicated portrayal of author John Cheever by actor Gary Oldman. Some may desire her intensely; others might shy away, yet they'll all find something admirable within her. By following our heroine through these stages, the narrative positions her as both a symbol of youth and potential—a role that paradoxically underscores decay and loss over time. Through focusing on such a striking figure, Sorrentino conveys that everyone has felt their own allure at certain points in memory. B.E.

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➼ Read Bilge Ebiri’s full review of Parthenope .

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Companion

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Drew Hancock’s horror-comedy begins by building towards what isn’t quite a first-act plot twist; instead, it reveals an unforeseen concept—namely that Iris (played by Sophie Thatcher) thinks she isJosh’s (Jack Quaid) loving partner heading into a romantic retreat at a lakeside cabin. In reality, however, she is merely a robotic companion hired by him for companionship and intimacy. This revelation sets the stage for the enjoyment that follows. Companion The brilliance doesn’t solely stem from the execution of this initial unveiling; instead, it’s derived from every subsequent plot twist as well. As the movie ventures into progressively more outrageous and savage territories, its structure itself transforms into a source of enjoyment. A.W.

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➼ Read Alison Willmore’s full review of Companion .

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Presence

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A haunted-house movie from the perspective of the ghost, Steven Soderbergh’s Presence
The movie blends the director’s persistent formalist aspirations with straightforward, clichéd genre elements. A prosperous family purchases a new home where the young girl begins noticing eerie happenings, unbeknownst to her indifferent relatives. While the narrative might seem conventional, how Soderbergh captures it is anything but ordinary. His camerawork fluidly navigates rooms, circles performers, rushes along staircases, and gazes outside from windows—often captured in one continuous take per scene. Notably, under the credit of cinematographer Peter Andrews—who serves as a pen name for Soderbergh—he personally handles all filming duties, thus amplifying his influence beyond just visual aesthetics; he embodies both creator and overseer within each frame.
In doing so, the enigmatic specter remains unobserved yet omnipresent, symbolizing the director's dominion over cinematic composition—a reflection of the manipulative voyeurism intrinsic to filmmaking itself, particularly evident in genres designed to unsettle viewers. Herein lies Soderbergh’s distinctive touch: acting covertly without direct involvement—the invisible puppeteer guiding actions seemingly executed autonomously by characters. This concept could initially come across as theoretical jargon, however, themes surrounding hidden influences and deceptive autonomy become pivotal aspects woven into the storyline.
Ultimately, what emerges is an avant-garde piece functioning seamlessly alongside captivating horror tropes, potentially marking one of Soderbergh's most accomplished ventures to date.— B.E.

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➼ Read Bilge Ebiri’s full review of Presence .

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Grand Theft Hamlet

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This ingenious documentary-style video game project might have emerged due to the pandemic, inspiring unemployed actors Sam Crane and Mark Oosterveen to undertake a production endeavor. Hamlet staged entirely within Grand Theft Auto Online However, fundamentally, it's a movie centered around the internet, highlighting how authentic connections and human creativity can produce remarkable outcomes even within the structured environment of an online space initially designed merely as a platform for chaos. Despite being depicted as digital characters, Crane—who directed the film alongside his spouse, Pinny Grylls—and Oosterveen emerge as deeply moving personas. Similar to Hamlet contemplating life's big questions, these two reflect upon their own existence—always mindful of potential threats lurking in the form of virtual bullets raining from all sides during gameplay. A.W.

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➼ Read Alison Willmore’s full review of Grand Theft Hamlet .

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One of Them Days

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A kind of stoner film where nobody really ends up getting high, this entertaining buddy movie (written by Rap Sh!t The showrunners, led by Syreeta Singleton, harken back to a time when studios produced genuine comedies and had faith in the abilities of their actors to drive these stories forward. In this instance, having Keke Palmer as one of the leads certainly aids the production; she shines brightly as Dreux, a waitress striving for success until her friend and roommate, Alyssa (played by SZA making her acting debut), squanders their rent money on her unreliable partner. Despite the humorous situations that ensue, the series also highlights the draining nature of navigating financial instability. A.W.

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➼ Read Alison Willmore’s full review of One of Them Days .

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Den of Thieves 2: Panther

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If 2018’s Den of Thieves acted as a clumsy reboot of Michael Mann’s Heat (1995), then the new Den of Thieves 2: Panther acts as a clumsy reboot of Michael Mann’s Miami Vice (2006). None of these elements are negative per se. The focus on intricate processes and gritty details that characterized the original heist movie is absent here, substituted instead with an exuberant, almost reckless emotional intensity that disregards narrative coherence and lucidity. This approach effectively highlights lead actor Gerard Butler’s talents, as he has long embodied a rugged appeal—combining masculinity with vulnerability in nearly equal parts, making one ponder whether these two qualities aren’t inherently intertwined. In short, he serves as an ideal protagonist for this tumultuous and vividly depicted European caper doomed from inception to fail. Pantera fits into that series of follow-ups that appear to grow weary of merely recreating the dynamic from previous movies and choose instead to allow us to revel in spontaneous character moments. B.E.

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➼ Read Bilge Ebiri’s full review of Den of Thieves 2: Panther .

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Every Little Thing

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The true gauge of a society lies in how it handles its most fragile individuals. By turning this concept around, we might uncover yet another self-evident but seldom voiced—and almost never acted upon—principle: restoring a community, possibly an entire civilization, starts with mending those least fortunate among us. This notion crosses your thoughts as you view Sally Aitken’s exquisitely poignant film about the hummingbirds of Los Angeles and the individual who dedicates her existence to their welfare. Terry Masear manages a rescue effort aimed at nursing wounded and abandoned hummingbirds from across the broader L.A. region back to health. This task demands immense forbearance and exactitude; some require instruction or retraining to take flight again, often showing reluctance and fear toward doing so. These creatures are inherently tiny and frail, particularly the infants under Masear’s charge whose caregivers have vanished or passed away, placing these young lives in further jeopardy. "It’s astonishing to consider how any survive when witnessing their vulnerability," she reflects aloud. More than just hummingbirds may prompt such reflection. As we observe, Every Little Thing embodies the delicate but unstoppable enigma of all existence. B.E.

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➼ Read Bilge Ebiri’s full review of Every Little Thing .