This year was definitely one of THE years of all time. We’ve had ups and downs in about every department including the film industry. PEDESTRIAN.TV doesn’t have a designated film critic, but it does have me — the journalist who did a Bachelors of Film and Television before dropping out after one year. Let’s just be glad I’m the one writing this article and not my beloved but fundamentally incorrect colleague who thinks a movie beyond 90-minutes isn’t worth your time.
This list was curated from the limited films I have seen this year, measured through the merit of “I had a great time”. If you have problems with it — like how One Battle After Another isn’t on here — do understand none of this matters (also OBAA is lowkey overrated). So, in no particular order, here are the best films of 2025.
My fav films of 2025
1. Twinless
representation on the big screen.
(Credit: Lionsgate)
Synopsis: Twinless follows two men befriending each other after losing their twin brothers. That’s all the synopsis you need.
Come for the Dylan O’Brien sex scene, stay for Director/Actor James Sweeney. Both aroused me equally. Sweeney pulls off a modern day Shakespeare story — a farce situation, dramatic irony and a genre switch that leaves its emotionally invested audience in high tensions.
There were visuals in this film that made my inner-film student orgasm, raw acting that elicited sympathy and a moment during the third act which made the theatre shrivel up in simultaneous disgust/cringe/embarrassment. It’s worse than the moment from Friendship (2025). IYKYK.
This was really good modern filmmaking. Also Aisling Francis dropped a banger of a line: “Deservedness is not a requisite for forgiveness”.
2. Warfare
(Credit: A24)
Synopsis: Based on real life Navy SEAL Ray Mendoza‘s experience, Warfare follows a Navy SEAL’s platoon fight for survival after being pinned in Ramadi, Iraq.
Director Alex Garland, who did Civil War (2024), teams up with Mendoza to deliver one of the most authentic and terrifying depictions of military combat I’ve seen on the big screen. Every second of its 95 minute runtime is oozed with tension fuelled dread, cinematography and editing that forces audiences into the situation. The war sequences are rooted in fear and intensity, and feature sound design that makes Civil War look like child’s play.
Being a sincere recount of war through various testimonies of the IRL team, each actor elevates the weight of the situation through layered performances, down to their smallest expressions. There is no victory, no glory, not even a moment of respite. In another world, this would be the best horror movie of 2025, but alas there is another contender…
3. Weapons
(Credit: Warner Bros.)
Synopsis: A town is left distraught when 17 children from Ms. Gandy’s classroom disappear overnight.
Weapons is as unpredictable as it is unsettling, crafting an engaging thriller told through non-linear anthological storytelling. Each actor gets highlighted during their respective story, bringing a compelling and dire performance in this film centring around grief, abuse and trauma. In only his second theatrical release, director Zach Cregger crescendos the film in its thrills with brilliant cinematography and sound design. And how about that ending?
Having a background in comedy, Cregger masterfully balances the horror and comedy even up to the finale. As the resolution unfolded, my theatre were losing their shit, but my mouth was agape witnessing the most morbid sequence of events.
Masterclass filmmaking.
Despite a satisfactory conclusion, I am still having conversations about what the film was trying to say. Safe to say Weapons is a movie experience that stays with you even after the credits roll.
4. Marty Supreme
MARTY SUPREME CHRISTMAS DAY.
(Credit: A24)
Synopsis: In regular Josh Safdie fashion (I’m sorry Bennie Safdie, The Smashing Machine was mid), Marty Supreme follows table tennis portage, Marty Mauser, doing what it takes to chase a high while disregarding the concept of responsibilities and consequences.
Timothée Chalamet was NOT capping when he said he’s in the pursuit of greatness. When you throw him in the signature anxiety-induced chaotic-ness of a Safdie film, you will see this man go to lengths that’ll make him a worthy Oscar winner. This film is non-stop — just shenanigan after shenanigan until the credits hit and lets you breathe with a rather ambiguous ending. The narrative is elevated through the cast (shout out to first time actors Tyler, the Creator, Luke Manley and Kevin O’Leary), a nostalgic yet thumping score and a beautifully shot New York.
PLEASE do yourself + the movie industry a favour and support original indie films like this. Speaking of original films…
5. Sinners
(Credit: Warner Bros.)
Synopsis: Twin brothers, Smoke & Stack, return to their hometown only to find a supernatural evil awaiting them. This synopsis doesn’t do it justice but c’mon it’s Ryan Coogler and Michael B. Jordan.
Sinners is just really damn cool. Great acting, banging music and a great movie watching experience. Coogler whipped out his whole creative arsenal and wielded them with equal levels of skill and attention. It’s a fun mix of musical and horror filmmaking that fascinatingly explores themes of history, the power of music across generations and cultures and why some would seek to consume it.
The way it seamlessly melds so many genres into one, using more comedic and musically inclined first half to construct its characters and its world only to delve into a much more macabre and sinister second half with murderous vampires (but the music still slaps), all the while also maintaining a faithful rendition of 30s Mississippi.
Blessed to say I experienced a monumental moment in cinema history.
6. Ne Zha II
(Credit: A24)
Synopsis: Ne Zha II picks up where its 2019 predecessor left off — demon child Ne Zha and his only friend Ao Bing must seek immortality while darker forces attempt to break free from their imprisonment.
Animation is continuously disrespected as a film medium, but when an animated film is the highest-grossing film of 2025, you gotta recognise game.
While western animation studios are pushing for the 3D / 2D hybrid as their means of innovation, Ne Zha II proves there are still stones unturned when it comes to CGI. The sheer scale and grandiose of this film replicates the likes of Avengers: Endgame (2019) — but there’s actual colour saturation this time.
Although I had to adjust myself to Chinese cinema (different comedy style, dense mythology, English dub etc.), this film made me cry twice. Once because of a sad scene that kicks off the third act, and the second time because the third act was so beautiful; I was overwhelmed with joy that such artistry is even possible. The first film to make me do this was Everything Everywhere All At Once (2022), so if I had a nickel every time a Michelle Yeoh film did that to me… I’d have two nickels. Which isn’t a lot, but it’s weird that it happened twice.
7. Frankenstein
(Credit: Netflix)
Synopsis: Do I really gotta provide a synopsis for Frankenstein? Scientist brings corpse back from dead. That’s it. That’s the tweet.
Guillermo Del Toro continues to pump out banger after banger, putting on full display his dark, gothic imagery on a subject worthy of it. Every shot feels like it belongs on a wall in the Louvre, with the practical sets and makeup being a testament to Del Toro’s respect for the craftsmanship of cinema.
Oscar Isaac and Jacob Elordi deliver career-best performances. Isaac’s Frankenstein has impressive levels of complexity and nuance that distinguishes himself from other portrayals of the character. Elordi’s monster evokes humanity merely through his voice, becoming the emotional core of the film.
This film is the cinematic spark that brings vigour to the Frankenstein tale we haven’t seen since the 1930s, and is a great case for Netflix to do theatrical releases more frequently.
8. Rental Family
(Credit: Searchlight Pictures)
Synopsis: Brendan Fraser plays Phillip, a struggling American actor living in Japan who gets hired as the “token white guy” for a rental family service. But y’all it goes so much deeper than that.
The magic of film is the ability to practice empathy through witnessing a world beyond what you’re familiar with — which Director Hikari does so brilliantly. The film is decorated with the wonderful serenity of Japan, but at its centre is the universal conversation of human connection being a complicated yet necessary tool in life. Through Phillip, we grow fond of vibrant characters while we’re forced to question the sincerity of his relationships, knowing the inevitable is on its way.
This film also made me cry twice. The first cry happened when Act One ends and you realise this film isn’t just a goofy situational comedy. The second cry was the ugliest I’ve cried in years. We’re talking waterfall of snot, rapid breaths, people behind me in the cinema thinking “Can this dude SHUT UP?”. I didn’t even relate to any of the situations these characters were in but everything in this film had me in captivated awe that I just got swept up. That’s the power of cinema, baby.
9. F1
(Credit: Warner Bros.)
Synopsis: Down on his luck, rebellious, maverick type figure is given an opportunity to recapture his former glory and compete in a massive competition. Accompanied by a young hotshot rookie, he faces people consumed by self-interest trying to bring him down.
There are plenty of movies with this synopsis, but goddamn it Joseph Kosinski you made it work. The Top Gun: Maverick (2022) director once again treats us with high octane, adrenaline fuelled sequences backed with a surprisingly thoughtful screenplay sprinkled with humour. There are stellar performances from the entire cast, including leading man Brad Pitt who establishes he’s not washed.
The film impressively makes Formula 1 accessible by explaining the rules without resorting to cheap exposition, allowing audiences (me) to simultaneously understand the sport and the characters as the film goes on.
Simply put, this was an exciting feel-good blockbuster that doesn’t insist upon itself.
10. The Naked Gun
(Credit: Paramount Pictures)
Synopsis: Lieutenant Frank Drebin Jr must save Police Squad from shutting down by solving a sinister case.
HEAR ME OUT. Sometimes we just wanna go to the movies and have yourself a whimsy time. The Naked Gun isn’t just that, but an exemplar of how to properly do a legacy sequel in today’s saturated market. On top of being back-to-back with laugh-out-loud acting, wordplay and visual gags, The Naked Gun stands on its own with an original story and characters detached from previous entries of the franchise.
This is an unserious film that takes itself seriously. Everyone is committed to the bit — especially Liam Neeson — because they know honouring a franchise is less about nostalgia and more about nailing what made the original films work. This was a pleasant introduction to The Naked Gun franchise, which I’ve now indulged myself further in.
If you want my credibility on commentating on legacy sequels — Blade Runner 2049 (2017) is a masterpiece, I abhor Tron: Ares (2025) and I liked Star Wars: The Last Jedi (2017). If you want my credibility on commentating on comedy — Hoodwinked (2005) is a masterpiece.
Honourable mention:
Eternity. Great rom-com.
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