The end of the year means that it is once again time for me to look back at the most outstanding achievements of the last twelve months. As long and challenging as this year was, it did offer me an opportunity to expand my authorship to multiple publications. Many of the films I’ve listed are ones that I also reviewed of discussed to some capacity in one of my bylines; in short, you can find more of my writing at Collider, Far Out Magazine, High on Films, Splice Today, Paste, Inverse, Polygon, and Dallas Observer.

It’s because of how frequently I’ve been writing for other places that I don’t do as many independent columns and reviews as perhaps I should, but the reality is that entertainment journalism is a difficult place at the moment. This is a year where many venerable publications cut long-time staffers and studios showed a deeper interest in influencers than actual critics; when smaller voices are elevated, it’s often those that are the loudest and most inflammatory, and not the most insightful or knowledgeable.

Fighting for access is a challenging task that I’ve wrestled with; despite my twelve years of experience writing entertainment reviews and coverage, I’m often in the difficult position of advocating for myself without the backing of a publication. The narrowing of the market means that, to have any shot at credibility, an individual critic or writer must have some form of advanced access in order to be taken seriously. Although I attended several festivals this year, I still admit to feeling defeated at how “behind” I can feel when not given access to the material I need to evaluate.

There is much grief to be had about the events of the last twelve months; in addition to several dubious media mergers, box office disappointments, and a federal administration that has animosity for those in the arts, it might feel superfluous to celebrate the best achievements in television. That being said, I found there to be an embarrassment of riches that once again forced me to consider how many films I could reasonably list on my “best of” piece. I felt it was best to keep a relatively manageable list for the sake of anyone that is following and looking for recommendations, and capping it off at 100 seemed like the best way to reflect the robust qualities of the year. Without further ado, here are the best films of 2025.

100. Hamnet

There’s certainly some elements of Hamnet that are manipulative, and the final needle drop of “On The Nature of Daylight” may have hit harder had it not already been used in Shutter Island, Arrival, and The Last of Us among others. That being said, the theory that art is a medium with which to process grief is almost as moving as Jessie Buckley’s soul-piercing performance.

99. Little Amélie or the Character of Rain

Here is a deceptively simple work of animation that embodies the wisdom and wholesomeness of early childhood. To collect a series of vignettes that speak to the early revelations within a child’s life is a profound way to peel back the social and cultural subtext of their upbringing.

98. A Poet

Hilarious and haunting, A Poet is an absurdist testament to the artists with the conviction to risk everything for their work whilst knowing that it won’t be enough.

97. The Tale of Silyan

The Tale of Silyan is the rare blend of a National Geographic nature documentary and a political feature; it’s centered on the bond that a Macedonian farmer forms with a white stork after his family has moved to Germany amidst the economic recession. Beautifully handmade and quietly devastating, this is a wonderful way to reflect the profundity of folklore.

96. The Ice Tower

A terrific modern take on fairy tales that’s free to use the inherent beauty of Hans Christian Anderson’s stories as a means to unpack a found family story enraptured by magic. Marion Cotillard’s luminous performance as an actress who embodies the spirit of the “Snow Queen” is wonderful.

95. The Baltimorons

The “mumblecore” movement may have faded, but Jay Duplass’ latest feature takes the best components of DIY filmmaking to tell a profound love story between two people in the midst of respective mid-life crises. One of the better Christmas films in recent years. 

94. The Alabama Solution

There isn’t another recent documentary that assesses the institutional corruption and abuse within America’s prison system better than The Alabama Solution, which should be considered necessary viewing for anyone involved in the legislature.

93. It Ends

It Ends is the type of debut feature that promises great things to come; the blend of surrealist existential horror, coming-of-age anxieties, and strikingly mundane suspense suggests that writer/director Alexander Ullom has a very promising future.

92. All That’s Left Of You

The independent distributor Watermelon Pictures released multiple films this year about the genocide in Gaza, including The Voice of Hind Rajab and Palestine 36, but I found All That’s Left Of You to be the most powerful. This is a profoundly upsetting way of weaving through knotty history to examine the pain inflicted upon one family, who represent only one of many who were torn apart by violence.

91. My Dead Friend Zoe

My Dead Friend Zoe offers a frank, yet optimistic look at the realities of dealing with post-traumatic stress disorder for members of the military across generations, and finds ways to be heartwarming without being saccharine. One of my all-time favorite actors, Ed Harris, does his best work in years.

90. The Ugly Stepsister

Easily the most disturbing and maniacally mean-spirited fairy tale revamp this year, but I prefer the grotesque body horror of this Norwegian revamp of Cinderella to the watered-down live-action remakes that Disney’s made of its animated classics. A nasty surprise.

89. Bring Her Back

Danny and Michael Philippou blew me away with what they achieved in their inaugural horror film Talk to Me, but Bring Her Back is an even darker, more visceral perspective on how grief brings out the worst in people. This should be a contender for any prize for casting given this award season, as the young stars Billy Barratt, Sora Wong, and Jonah Wren Phillips offer bracingly powerful child performances.

88. The Assessment

There were many films this year that tackled the challenges of parenthood, but The Assessment is a haunting sci-fi drama that explores the pressures, both internal and external, that a couple faces in proving they are worthy of coping with the erratic. It’s a decade after another thought-provoking work of all-too-real sci-fi in Ex Machina that Alicia Vikander returns to give another demanding, magnetic performance.

87. A House of Dynamite

This got a lot of flack for its ending (or lack thereof), but Kathryn Bigelow’s assessment of the options facing the military and government in the midst of an unthinkable crisis finds different ways to induce panic. The chaotic, messy, and cynical read she has on the collapse of authority is just as frightening as any of the year’s horror films.

86. Parthenope

The first of two Paolo Sorrentino films to appear on my list is a sensual coming-of-age dramedy that dances around the themes of its roots in Greek mythology to give Celeste Dalla Porta a breakout role. Gary Oldman’s brief, bizarre performance is a highlight.

85. The Ballad of Wallis Island

I have to admire the audacity to make an unabashedly feel-good movie that treats its characters as real people and shows a willingness to exist within the awkward void in broken relationships. In addition to a hilarious, heartwarming turn from Tim Key (who also co-wrote the film),The Ballad of Wallis Island has one of the year’s best original soundtracks.

84. Pee-Wee As Himself

Pee-Wee As Himself is the rare celebrity documentary that’s hijacked by the subject when it gets too personal, all before it’s derailed by impending tragedy. The insights on how Paul Reubens changed comedy are fascinating, and seeing him cope with his own mortality is incredibly moving.

83. It’s Never Over, Jeff Buckley

Too many music documentaries exist as PR for the family or estate of the artist, but It’s Never Over, Jeff Buckley seeks to reflect on how the late artist brought sensitive reflection into mainstream, and considers why his brief, yet brilliant string of performances still inspire fascination and wonder decades later.

82. The Lost Bus

No one does pulsating, grounded historical disasters quite like Paul Greengrass, who uses some of the year’s most impressive visual effects to imagine the birth and destruction of a wildfire. Matthew McConaughey’s performance is both a definitive “movie star role” and an example of why his honest, vulnerable style of acting is so appealing.

81. Omaha

Chalk this up as another immensely depressing film about parenthood, and especially about the crushing weight felt by someone who knows it in their heart that they can’t be responsible for their own children. John Magaro has been crushing it with supporting roles for years, but this is a lead performance that he commands.

80. Nuremberg

If I initially failed to see the point of a new film about this subject considering that the classic Judgment at Nuremberg exists and still feels relevant, then Nuremberg impressed me by showing the cruel manipulations that allowed the Nazi high command to mask their evil under the guise of patriotism. Russell Crowe, who has frankly done little of note within the decade, offers a reminder as to why he was once considered to be the best actor in the world.

79. Final Destination: Bloodlines

Final Destination: Bloodlines is an example of a franchise finally reaching its ultimate form and pushing the dark comedy, creative depravity, and compelling mythology to their furthest extent. The late great Tony Todd offers a final performance that brings unexpected emotional weight to a Final Destination sequel, of all things.

78. A History of Sound

“Old-fashioned” does not always mean retrograde, and the yearning, patient historical love story of A History of Sound works thanks to the remarkable chemistry between Josh O’Connor and Paul Mescal, both of whom have had outstanding years.

77. Arco

One of the year’s best animated gems is this French work of science fantasy that includes futuristic wonder worthy of The Jetsons with an Earthy, pro-environmentalist slant reminiscent of early Studio Ghibli. Not all English-language dubs are created equal, but Arco has a strong one thanks to the talents of Natalie Portman, Mark Ruffalo, Will Ferrell, and Andy Samberg among others.

76. Mickey 17

Bong Joon-ho’s messy, chaotic adaptation of a great sci-fi novel folds innumerable quirky ideas about how today’s capitalistic, insular society will become compounded by duress when technology advances. It’s frequently hilarious and occasionally feels quite relevant, and Robert Pattinson’s dual performances are enough to keep it entertaining at all costs.

75. Companion

This is the type of high-concept, original sci-fi filmmaking that the studio system should make more of, which makes it all the more disappointing that Companion didn’t share in the riches earned by other Warner Bros. releases this year. I’m glad that Jack Quaid, who’s also great this year in Novocaine, is breaking out of The Boys to be in interesting projects.

74. Highest 2 Lowest

Spike Lee’s remake of my favorite Akira Kurosawa film is almost satirically operatic (that score!), playfully suspenseful, and ultimately inspiring in how it connects wealth, pride, integrity, and art. There’s not a single Spike Lee joint that’s not packed with ideas and choices that no other filmmaker could make, and no movie with a rap battle between Denzel Washington and A$AP Rocky was going to miss my list.

73. Sound of Falling

A staggering work of ambition (especially for a debut filmmaker), Sound of Falling gracefully weaves through four generations of coming-of-age stories to examine the societal indignities faced by German women, both specific to historical periods and ingrained within culture.

72. Zootopia 2

It’s refreshing that the blockbuster that saved Disney’s financial year happens to be a really smart, creative film filled with visual splendor and high-effort animation, and also happens to say something about displacement and erasure in the most overt ways possible.

71. Eleanor the Great

The logline for Scarlett Johansson’s directorial debut may seem like it would fall on the wrong side of transgressive, but Eleanor the Great is actually a very fun, optimistic story about the grace we allow to both ourselves and others. June Squibb’s performance is simply a delight, and I couldn’t be happier for her.

70. The Day The Earth Blew Up: A Looney Toons Movie

In a year where those at Warner Bros. and whatever their next owners might be have proven that they don’t care about Looney Toons, the franchise’s first theatrical, feature-length animated film proves why these characters are still relevant after a century. The Day The Earth Blew Up: A Looney Toons Movie didn’t need to be saved by nostalgia, because its hilarious on its own terms, and could very well serve as an introduction to the series for kids who have no idea who Daffy Duck and Porky Pig are.

69. Superman

After a decade of Zack Snyder’s mopey, sullenly Christianized take on the Man of Steel, James Gunn’s Superman smartly avoids the origin story to take a look at why the character’s optimism and faith in people is exactly what the world needs right now. Facing deafening expectations, David Corenswet nailed the role so thoroughly that he’s become Superman for this generation in the same way Christopher Reeve did decades prior.

68. Thunderbolts*

The B-side of the Marvel Cinematic Universe offers a collection of miscreants and misfits on a ragtag adventure that sparkles with playful banter and surprisingly nuanced thoughts on shame, grief, and trauma. If Florence Pugh and Lewis Pullman are at the center of the MCU moving forward, then Avengers: Doomsday still has my interest.

67. The Fantastic Four: First Steps

My favorite superhero movie of the year happens to be based on my favorite comic book characters, who are finally given the admittedly geeky, immersive sci-fi spectacle they deserve. The Fantastic Four: First Steps makes the smart decision to (literally) exist in a universe outside of the rest of the MCU, where it is free to offer a parallel to history where things are just a bit brighter, goofier, and more sincere.

66. Avatar: Fire and Ash

Faith and futility, assimilation and annihilation, family and forgiveness, rebirth and retribution, nature and nurture- James Cameron’s magnum opus reaches a stunning, emotionally resonant conclusion that operates on a scale that we might never see again

65. Caught Stealing

Color me shocked that Darren Aronofsky, a filmmaker seemingly devoted to misery, decided to make a stripped-down crime adventure with a razor sharp edge of black comedy that acts like a madcap dash through the tropes of ‘90s pulp thrillers. This is definitive proof that Austin Butler is a movie star who is so compelling that it’s easy to overlook any other flaws.

64. Cover-Up

Seymour Hersh is a fascinating subject for this revelatory reflection on decades of journalistic controversies, including everything from human rights violations in Vietnam to the contemporary climate crisis. Hersh is unapologetic and resounding in his sentiments, and director Laura Poitras doesn’t give him any excuses to be either self-aggrandizing or cynical.

63. Peter Hujar’s Day

Ira Sachs’ fascinating adaptation of real transcripts of conversations between journalist Linda Rosenkrantz and artist Peter Hujar would be a compelling work of experimentation if it weren’t for the breathtakingly cool performances from Rebecca Hall and Ben Whishaw, respectively, who turn it into a great film.

62. On Swift Horses

Even though On Swift Horses is based on a contemporary work of fiction, it has the breath and scope of a “Great American Novel” in showing how three trailblazing outsiders shaped their lives amidst the social, political, and cultural shifts of the 1950s. Jacob Elordi, who pops up on this list again, is once again showing signs that he’s interested in choosing auteur-driven, ambitious projects.

61. Apocalypse in the Tropics

Apocalypse in the Tropics is the scariest film of the year because of the clear-eyed insight it has on how radical fundamentalism can infect every layer of society and prompt a political reckoning that nearly set back an advanced nation to its darkest days. This isn’t just an essential reading of contemporary Brazilian history, but a warning about heeding warning sides around the world.

60. The Perfect Neighbor

One of the most creative documentaries I’ve ever seen, patched together through bodycam footage of police officers, is also a frightening, depressing, and infuriating look at how not even the most progressive communities and noble intentions of law enforcement can stop a monstrous, selfish individual from causing irreconcilable pain.

59. 2000 Meters To Andriivka

2000 Meters to Andriivka isn’t as much a documentary as it is an encapsulation of history in motion. This account of the struggle of the Ukrainian people’s fight to save their occupied cities isn’t just a testament to the nation’s resilience, but a chilling reminder as to what happens when the world turns a blind eye.

58. Silent Friend

As weird as it is to say that a 145 minute arthouse film about the resilience of a German tree over 100 years is a “hangout movie,” I found a depth and warmth to Ildikó Enyedi’s soothing experimental work. Although it leans completely into the surreal in its jaw-dropping finale, Silent Friend is elevated by moments of humanity and empathy from its brilliant cast, including Tony Leung is his best work since the early Wong Kar-Wai films.

57. The Smashing Machine

I found what Benny Safdie did with his biopic of UFC fighter Mark Kerr to be transfixing. Safdie recreated archival footage with a degree of realism that nearly felt meta in its sincerity, and chose to highlight exasperating, narcissistic moments of a man who failed to be a champion, all whilst offering withering anecdotes about addiction and futility. It’s a far more interesting film than it’s been given credit for, and confirms by suspicion that Dwayne Johnson is a far smarter and better actor than he may let on.

56. Springsteen: Deliver Me From Nowhere

Here’s a subversive music biopic that focuses on the work of art that didn’t top billboard charts or spawn a movement because it was made as a way to exercise personal demons. Springsteen: Deliver Me From Nowhere does away with some of the irritating aspects of the subgenre by finding moments of truth that make the high-powered musical moments even more enrapturing. Jeremy Allen White nailed a role that presented nearly unthinkable expectations.

55. The Naked Gun

The Naked Gun isn’t a traditional reboot that is interested in mining your nostalgia, because it’s just funny on its own terms. As anyone familiar with the work of The Lonely Island might be aware of, director Akiva Schaffer is willing to pack so many visual gags into the background that The Naked Gun holds up on rewatches, and goes in absurdist directions that not even the original attempted. Liam Neeson confirms my belief that he’s always had a knack for comedy, and it’s not too late to start a Best Supporting Actor Oscar campaign for Danny Huston.

54. Twinless

Dylan O’Brien was the first person I professionally interviewed over a decade ago, and this is the performance that I always suspected he was capable of. Here’s a two-hander about twins separated by tragedy that gives him the chance to bring two revelatory, live-in characters to life.

53. Rental Family

Rental Family is another film in the “feel-good” category that goes beyond simple solutions on how to offer unbridled compassion for others, as doing what feels right isn’t always helpful in the long-term. A film that deals with such tricks subjects couldn’t work without the ineffable charm of an inherently likable guy like Brendan Fraser, whose comeback has made me very happy.

52. Frankenstein

Guillermo del Toro has been homaging and interpreting the Frankenstein story within his entire filmography, but his direct adaptation still feels unexpected; this is a story about what fathers pass to their sons, and makes a few notable changes from the source text that embody his thoughts on who we deem to be monsters.

51. Nirvana the Band the Show the Movie

This is by far the hardest that I’ve laughed in a long, long time, and also a genuinely sweet testament to friendship that avoids being saccharine. Nirvana the Band the Show the Movie is the ultimate work of DIY-experimentation that has some of the most clever time travel gags in recent memory.

50. Sinners

This owes a lot to From Dusk Till Dawn and much of John Carpenter’s filmography, but Ryan Coogler’s operatic southern epic executes on every level that a great vampire film should. Michael B. Jordan does career-best work as twins who represent the dueling paths of Black Americans, one of whom chooses to assimilate, and another who finds martyrdom. Ludwig Göransson’s score is an all-timer.

49. Sorry, Baby

Eva Victor wrote, directed, and starred in this confessional dramedy that works so much better than most “slice-of-life” indie debuts because it doesn’t shy away from being incredibly bleak, which makes the more hopeful components hit even harder. She assembles a great cast too, with John Caroll Lynch’s one-scene knockout performance ranking among my favorite of the year.

48. Homebound

India’s submission for the Best International Film category at the Academy Awards is a timeless story about childhood friends that find themselves following different paths, even if they are forever linked. As familiar as this story may seem, Homebound finds so much insight in its breakdown of the caste system and social prejudices that it’s even more impressive that it’s pitched at such a gentle, unfussy pace.

47. Sovereign

I haven’t seen many contemporary films that unpack the inherent disregard for reality felt by “fringe” extremists that is this lived-in and haunting, which makes the true story of Sovereign even more sickening. Although this may begin as an empathetic look at how a familial relationship can exist within even the most radical of mentalities, it follows the implications of violent anti-authoritarianism to their bitter conclusion.

46. Lurker

Lurker is a great thriller set within the backdrop of Internet stardom and modern celebrity culture that examines the brain-rotting sickness within self-professed fans; those that feel that they “know” their idols feel a sense of ownership, and Lurker follows the dubious ways in which these obsessions would play out.

45. The Long Walk

Blunt, brutal, and unrelenting in its wide-eyed encapsulation of how we’ve been desensitized to violence, The Long Walk is both Francis Lawrence’s best film and one of the strongest Stephen King adaptations we’ve had in years. This is an extraordinary collection of talented young actors, and seems to confirm that both Cooper Hoffman and David Jonsson will be stars we’ll be talking about for a long time.

44. Left-Handed Girl

The solo directorial debut of Shih-Ching Tsou, a longtime collaborator of Sean Baker’s, is a devastating, frequently upsetting portrayal of the lasting repercussions of cultural expectations and internalized doubt that also finds life and beauty within the cultural hub of Taipei. This should be a contender for any award given for Best Casting, as the breakthrough performance by Janel Tsai is one of the year’s true discoveries.

43. The President’s Cake

Here’s a brilliant concept- a “kidventure” coming-of-age story set in the backdrop of a totalitarian regime that doesn’t hold back in examining what it’s like to live under the domain of cult-like indoctrination. As bleak as The President’s Cake is, the eye-opening look at civilian life during Saddam Hussein’s reign in Iraq feels like it should be safeguarded for its historical relevancy.

42. Resurrection

Describing Resurrection through strict narrative parameters may be a doomed plight, as it’s almost impossible to comprehend exactly what Bi Gan’s ambitions are with this existentialist science fiction epic on a single viewing. Nonetheless, the mystique and wisdom of Resurrection are not limiting, but rather an exciting means of offering an olive branch to audiences willing to engage with unusual material.

41. On Becoming A Guinea Fowl

This pitch-black Zambian coming-of-age dark comedy asks frightful,yet intriguing questions about culture’s ability to reckon with the transgressions of its most powerful figures, even if it means tearing down the integrity of family legacy. Despite the overarching themes at play, On Becoming A Guinea Fowl is an intimate analysis of a fractured family unit, and anchored by a fantastic leading turn by Susan Chardy. 

40. Roofman

I’m not sure exactly why this didn’t become a bigger deal, because it’s exactly the type of grown-up, emotionally engaging character drama that the industry needs more. It’s an unusual premise (and one surprisingly faithful to the true story), but it’s carefully told with a great deal of emotional intelligence. Channing Tatum continues to get better as an actor, and this among his best work.

39. The Chronology of Water

Kristen Stewart’s enveloping directorial debut is the opposite of the standard “inspirational sports movie” formula, as it takes a hard look at recovering from trauma and the cycles of addiction. Sobering and impressionistic, but Imogen Poots’ career-best work shouldn’t be overlooked.

38. F1

No, this isn’t the most thematically nuanced film of the year, but it’s about as good of a commercial blockbuster that you could ask for given the incredible technical prowess put into the filmmaking. Joseph Kosinski truly understands how to take advantage of the IMAX format, and F1 also boasts an awesome score by Hans Zimmer to make the racing more electrifying.

37. The Phoenician Scheme

Wes Anderson has become a genre at this point, but he’s a reliable one, and it’s great to see him offer his take on a globe-trotting adventure story (with all the parental complications that come from his work). It’s strange that it’s taken Michael Cera so long to appear in one of Anderson’s films, but he fits in like a glove.

36. Eternity

While deeply indebted to Albert Brooks’ Defending Your Life, Eternity explains just enough about its premise to make the core relationships work and mine all the potential humor out of an afterlife love triangle. There’s remarkable depth to the performances by Miles Teller and Elizabeth Olsen, who have the odd task of playing an elderly couple returned to their youthful bodies.

35. Dead Man’s Wire

Gus Van Sant’s best film in almost two decades is a nailbiting ride that examines the media circus behind a particularly strange robbery-turned-activism spectacle. Van Sant knows how to attack this subject from all angles without dropping any tension, and also gives Bill Skarsgaard the opportunity to chew the scenery with a larger-than-life performance.

34. The Mastermind

Kelly Reichardt’s trademark minimalism is perfectly suited for this deconstructive heist movie about the world’s worst criminal, who is as lacking in motivation as he is in skill. Josh O’Connor had a banner year in 2025 with four great performances, and I’m not sure I could name another actor within his age bracket who would be capable of looking this hapless and incompetent.

33. Presence

Steven Soderbergh couldn’t make a ghost story in a traditional way, and Presence takes the unusual approach of examining a crippling family through the perspective of an undead spirit. Soderbergh has been very interested in technical experimentation within the last decade of his career, but this hits at an emotional register that his films haven’t reached in awhile.

32. Friendship

Tim Robinson is completely unleashed in this deathly uncomfortable, relentlessly ridiculous satire of suburban paranoia and all the trapping of mid-life family normalcy. This isn’t as setpiece-oriented as some of the trailers may have made it to be, but the dynamic between Robinson and Paul Rudd is an absurdist delight.

31. The Plague

The Plague is among the most harrowing depictions of bullying I’ve ever seen, as it captures the degree to which shaming, group think, and accepted stigmas have made hostile environments for adolescent boys. In a year where Adolescence got (perhaps undeserved) praise for its depiction of a crisis in masculinity, The Plague offers a less sanitized and more visceral portrayal.

30. Nouvelle Vague

Richard Linklater had the foresight to make a movie about the dawn of the French New Wave that just commits to the hangout vibes of the aesthetic; even if you’ve never seen Breathless, this is a total blast about all the chaos and contradictions that come with making movies. Guillaume Marbeck’s turn as Jean-Luc Godard is an outstanding first-time performance, and hopefully the inception of a great career.

29. My Father’s Shadow

The first Nigerian film to ever play at the Cannes Film Festival, My Father’s Shadow is an absorbing all-in-one-day drama about fathers, sons, and brothers, with the backdrop of the controversial 1993 Presidential election in the background. Director Akinola Davies Jr., who co-wrote the film with his brother Wale, has a real eye for showing events through the perspective of a child.

28. La Grazia

Paolo Sorrentino’s political drama is far more warm, emotional, and cathartic than any existentalist story about a fictional President would seemingly be, even if he doesn’t entirely drop the surrealist aspects of his style. Sorrentino has been working with Tom Servillo for decades, but the latter has rarely been better.

27. The Love That Remains

The Love That Remains may have been my biggest surprise of the year, because I was taken aback by how much I fell in love with this chilly Icelandic dramedy about the unfettered love between separated parents of three ambitious children. Wickedly funny and gorgeously shot, The Love That Remains should be celebrated for its potential crossover appeal.

26. Sirat

This energetic, ferocious blend of Apocalypse Now, Lawrence of Arabia, Sorcerer, and Mad Max is worth watching with as little information as possible beforehand; it’s a purely visceral experience that’s riveting for every moment, and only gets enhanced by the pulsating score by Kangding Ray.

25. Urchin

Harris Dickinson is an actor who continues to get better and better, but I was shocked that he was able to make such an impressionistic, wise, and unapologetically bleak directorial debut. Urchin is an unforgettable look at those who fall through the gaps, and avoids painting easy villains in favor of showing empathy to the victims of negligence.

24. Rebuilding

There’s another great Josh O’Connor performance in Rebuilding, a contemporary western drama that hits with even greater impact due to the devastating wildfires earlier this year. This isn’t just a great story about how to reform a community and the value of physical property, but a matured examination of fatherhood that features terrific chemistry between O’Connor and Megann Fahy.

23. Die My Love

There were several incendiary films this year about the burdens of maternity, and Die My Love is a visceral, trippy, and bitterly honest surrealist venture into the depths of exasperation and remorse. Jennifer Lawrence has never been better, and that’s no small statement.

22. Black Bag

The second Steven Soderbergh movie is both the smartest, sparest espionage story of the year that doubles as a great romantic mystery caper; this has the intrigue of From Russia With Love or North by Northwest with the mischief of The Thin Man or Double Indemnity. David Koepp’s brilliant script gives six great actors the chance to chew the scenery, making it difficult to determine who the scene-stealer is (it is Tom Burke, though).

21. Splitsville

Here’s another hilarious deconstruction of marital anxieties that finds a flavor of madcap, European comic shenanigans with a discerning analysis of upper-middle class American stagnation. This is better staged and coordinated than most of the year’s action films, and even has a fight scene worthy of Tom Cruise.

20. Warfare

Warfare restores the senselessness of the Iraq War in uncompromising, voyeuristic detail, as director Alex Garland worked alongside the real veteran Ray Mendoza to capture a brutal massacre that claimed the lives of multiple Navy SEALS and Iraqi civilians. Some have amateurishly dismissed the film’s commitment to realism as a lack of perspective, but it’s very clear from the moments of anguish Garland chooses to emphasize that Warfare is shaking its head at the irrationality of it all.

19. 28 Years Later

Danny Boyle’s legacy sequel to 28 Days Later (my pick for the century’s greatest horror film) delves into a post-Brexit world in which isolationism and conformity have given into barbaric means of survival. The digital impressionism makes 28 Years Later look and feel like nothing I’ve ever seen, but the powerhouse performances from Jodie Comer and Ralph Fiennes also give it an unexpected emotional punch.

18. A Little Prayer

Here’s a quiet, contemplative family drama that would almost feel antiquated if it wasn’t so gracefully true and deeply insightful about the type of connections that last. David Strathairn, who I’ve always felt is one of the most underrated actors of his generation, gives what may be the best performance of his entire career.

17. The Life of Chuck

One of the best Stephen King adaptations in years, The Life of Chuck finds a creative, deeply moving way to celebrate the little moments that make up the life of someone whose “ordinaryness” is actually quite profound. As excellent as Mike Flanagan’s horror work is, this shows he’s a versatile filmmaker.

16. Train Dreams

Train Dreams feels like a dreamlike elegy about the loss of the American frontier and the long-tail effects of grief, told in pensive vignettes of incomparable beauty. It’s a true visual achievement that does suggest that there is some hope in the darkness for those willing to look for it.

15. Jay Kelly

Noah Baumbach’s nostalgic reflection on the regrets and musings of a movie star is a bit more warm and fuzzy than he’s usually allowed himself to be, but doesn’t shy away from the bitter realities of an industry that frequently forgets its past. No one but George Clooney could make the line “all my memories are movies” feel so resonant, authoritative, and sad all at once.

14. Wake Up Dead Man: A Knives Out Mystery

The best entry in Rian Johnson’s trilogy of sleuth mysteries uses its analytical approach to tackle the difficult conversations around faith without never dismissing anyone’s belief. While there’s a terrific ensemble here (that includes a great comeback role from Thomas Hayden Church), it should come as no surprise that Josh O’Connor is a standout.

13. Bugonia

Yorgos Lanthimos attacks the absurdity of corporate speak, conspiracy culture, and the bitter divide between the haves and have nots with a caustic sense of irony that often feels downright cruel. I’ve claimed for years that Jesse Plemons is the actor of his generation, and I can’t think of anyone else who could craft such a deeply sympathetic, yet terrifying performance.

12. Is This Thing On?

Bradley Cooper has tackled two epic musical stories with his previous films as a director, but Is This Thing On? is what may be his most personal work about the interiority of the marriage and the courage of speaking truth. Even if real-life standup comedy has been co-opted by exhausting discourse, Is This Thing On? is an argument in favor of the medium.

11. The Secret Agent

Although it does have its moments of suspense (including a riveting final third), The Secret Agent is much more of an impressionist hangout movie than a shoot ‘em up spy thriller. Here’s a beautiful encapsulation of the spirit of the Brazilian people during the ‘70s, in which culture and art were preserved under the weight of the military dictatorship.

10. Weapons

There’s so much that can be read into Weapons and its razor-sharp convictions about a divided America, but it’s such a formally inventive work of supernatural folk horror that it’s hard to not be impressed by its brilliant set-ups and payoffs. Amy Madigan created an instant icon of the genre with Aunt Gladys, in a performance that will hopefully earn her some serious accolades.

9. Sentimental Value

Joachim Trier’s emotionally devastating look at what traits parents pass to their children is complicated by the perspective of an artist and the aftermath of loss, creating a bristling authentic story of fathers, daughters, and the gap in between them. While it’s quite funny at times and has some entertaining commentary on international filmmaking, Sentimental Value closes with some of the year’s most moving moments.

8. It Was Just An Accident

It Was Just An Accident should be celebrated for its sheer audacity, as director Jafar Panahi was jailed for his criticisms of the Iranian government, but thankfully it’s also a nailbiting morality play that’s darkly hilarious and narratively unpredictable in equal measure.

7. Eddington

The brilliance of Eddington may not be what people want to see in a divided time, but Ari Aster’s haunting neo-western examines the bittered rage that predated, fueled, and followed the chaos of the COVID-19 pandemic. It’s a deathly funny satire of empty rhetoric and crisis management that culminates with the scary invocation of the powers that be; it’s strange that this has been accused of taking a “both sides” approach when Aster goes out of his way to identify the real villain.

6. No Other Choice

Park Chan-wook may have invented the contemporary revenge thriller, but No Other Choice looks at the unenviable task of rebelling against the system of capitalism that leaves everyone selfish, embittered, and humiliated. It’s as slick, surprisingly hilarious, and ethically inquisitive in a way that would do Alfred Hitchcock proud.

5. If I Had Legs I’d Kick You

The other great maternal drama this year finds the sheer horror in an exasperated, overworked mother who feels that her screams into the void have gone unanswered, leaving her to slip within a dreamscape of madness. If I Had Legs I’d Kick You is the best type of “unpleasant” movie because of the visceral reactions it could inspire, and features a jaw-dropping performance by Rose Byrne that would win the Best Actress Oscar if the Academy Awards had any sense left in them.

4. The Testament of Ann Lee

The Testament of Ann Lee seemingly burns the traditions of a standard musical to the ground in order to show the growth and complication of religious fanaticism, framed in the style of a historical epic. This is a film that imposes its dynamic intensity upon its audience, and serves as a terrific companion piece to what Brady Corbet and Mona Fastvold did with The Brutalist (my favorite film of last year).

3. Blue Moon

Blue Moon isn’t just the perfect culmination of themes that Richard Linklater and Ethan Hawke have been exploring throughout their many collaborations, but a profound, darkly hilarious look at the artists who simply don’t make it. Hawke’s performance is instantly transformative, and the stagelike intimacy Linklater finds in his intimate setting makes Blue Moon a warm and enveloping experience.

2. Marty Supreme

Marty Supreme may be the purest shot of adrenaline I’ve seen all year, as Josh Safdie’s magnum opus on the unquenchable drive for ambition switches up its goals, genres, and structure at any given moment for the sake of being as entertaining as possible. In its absurdity, romance, humor, and simultaneous admiration and contempt for its titular protagonist, Marty Supreme is a complete experience of what we go to the movies for.

1. One Battle After Another

The year’s best film is an instant classic born of the present, in which the good intentions of former revolutionaries make way for a new generation of activists in their fight to preserve the dreams of a great nation. One Battle After Another is as formally hilarious as it is riveting as a work of spectacle, and finds new wrinkles to Leonardo DiCaprio’s star persona that prove him as one of the greats. Paul Thomas Anderson has made masterpieces before, but One Battle After Another feels like the thesis statement of an artist at his peak.