It’s been an interesting year for film in 2025. There’s the usual mix of box office and critical successes, blanketed of course by the usual barrage of cycnicism and the perpetual identity crisis facing the American industry. Anyone who follows headlines knows how ridiculous it all tends to be on the best of days, everyone racing to be the first to declare a film a success with subsequent headlines deeming it a failure the next day. All before these films even have an opportunity to exist in the public consciousness.
It’s tough to be a film fan these days. Even tougher to be a fan of the movies. In an industry, at least the bottleneck that we experience here in Canada which is the bleeding of the Hollywood system into our cineplex’s, that refuses to adjust expectations and a media desperate to stay relevant without any real measure of success or failure, most films keep becoming victims of the system. That’s not even to wade into the waters of the anti-Disney rhetoric and the incessant negativity of the trolls. This is pure speculation and intuition on my part, albeit born from what I feel, see and experience, but it appears like I’m starting to finally sense a change in the tide. The response to a struggling theatrical landscape thus far has been to double down on a constant barrage of new films all releasing at the same time with very short windows. One of the benefits of this has been that diversity of films that theaters are meant to support has retainted its presence, and even gotten more crowded. And yet, there has also been this sense that they have been chasing some magic solution in an environment of collapsed windows, heightened political rhetoric, and the continued loss of the theatrical as a primary language, making that crowded space difficult for everyone. This is the first year I have felt a general decline in content and quality as a result. And just to be clear, this will remain one of the most direct causalties of an industry in chaos. Theaters can survive on big event movies (at least a core of them). The health of the industry is what gets lost in the mix. It’s simple- without theaters driving the diversity, quality, creativity and the language of the cinematic industry in terms of original stories, these films don’t get made and the artists struggle. Not everyone needs to go watch films in theaters, but without that feeding the system the films don’t make it into homes either. And that includes the continued “streamlining” of streaming services, which in effect do very little when it comes to allowing these films to come into existence, let alone into the conversation.
There are however still a few stand out moments to note at the half way point of the year. It hasn’t been strong on the top end. I imagine you’ll be finding your fair doses of the one-two punch of Sinners and Black Bag dominating these lists thus far. Two very good films, to be sure, but even then I don’t know to what degree either will be sticking around at the end of the year, save for Sinners’ hoped for Oscar predictions.
What I have found, with the above anxieties noted, are a handful of solid 3.5/4 out of 5 star releases. These types of films are what sustain the movie going experience, to be sure. I’m hopeful that the fall will bring a few stand out entries to anchor this mix, but looking at my top 20 right now, its certainly possible to pull out some memorable and exciting moments and fare, be it the smaller indie or the bigger blockbuster.
In descending order:
Honorable Mention: Paddington In Peru
I’d be remiss if I didn’t get Paddington in here somewhere. What it misses in terms of the heights of its two predecessors, it makes up for in the increased nature of its scope, balancing the grandness of its adventure with the simple charms of those familiar storytelling beats. Any year is made better by another appearance of the beloved bear.
Mission Impossible: Final Reckoning
It’s not the best of the franchise, but it is definitely the biggest, blanketed by two jaw dropping extended sequences that manage to raise the spectacle that the series has come to represent to a whole other level. I’m a sucker for final films in a series as well as I’m big on theme, and often these kinds of films are doing the heavy lifting on the narrative front when it comes to tying everything together. So it worked on an emotional level for me too. It’s a lot of movie, and thus it is a lot of working parts that need to work together, but taken together its a defining film of the year, no question.
The Order
One of the Canadian films on my list, and it stakes its claim with its gritty, raw, procedural digging deeper underneath the surface level plot regarding murder and violence and white supremacy in America. Perhaps ripe for a rewatch already, as that outsiders perspective arrives with that stark awareness that we share the impact north of the border. This is a throwback to that boots on the ground, grassroots realism that used to permeate these kinds of films back in the 70’s, and it’s truly propulsive in its presence and pacing here.
Inside
I’d say this qualifies as a true hidden gem, a debut from filmmaker Charles Williams that functions as a stark character study following the relationship between three individuals finding their way in a broken prison system. It’s the bond between these three individuals, each traversing their own unique arcs from different vantage points and captured by some stunning performances, that proves so powerful, utilizing some simple imagery to explore questions of redemption, hope and despair. It’s not afraid to leave all of these things in question, a brave move in a film that is also asking us to give ourselves over to its emotional stakes. That it works as well as it does is one of the films grewat rewards. Don’t miss the score either, because its phenomenal.
Grand Theft Hamlet
Telling the story of Hamlet within the game of Grand Theft Auto is all you need to know about this film to give it a shot. One of the most unique films you’ll likely see this year. Let the films shocking level of emotional heft and authenticity be the thing that carries you through and lingers well after the credits.
Universal Language
Another Canadian title, and this one is a true gem. And not because its set and filmed in Winnipeg, my hometown (although there’s little question the insider wit and humour that likely will only make sense to Winnipegers is a big part of what I loved about the film). To be sure, the film is a complicated narrative to unpack out of context, parlaying the Iranian experience overtop of its surrealist vision of our cityscape. What grounds it though is the humour. Comedy is the genre I’m most particular about, and this is the sort of comedy-visual, subtle, witty- that really lands for me. Far and wide the funniest thing I’ve seen in a long while, and a film I loved experiencing with a local crowd. The story and themes? That came through the necessary research I needed after. But hey, that’s also part of the experience for me. I’m never going to begrudge a challenging indie.
Better Man
If I’ve found this film slipping down in the mix over the last three months, I’d say that has less to do with the film itself, which still represents one of my favorite big screen experiences in 2025, and more to do with the passage of time. It’s a film I need to revisit. A banger of a musical with stunning production and a huge dose of creativity and innovation. Not to mention thematically layered with its exploration of the rise and fall narrative arc of its real life persona. I knew next to nothing about Robbie Williams going in, nor did I need to. This film allowed me to become intimately aquainted with and invested in his story nonetheless.
Jazzy
A companion piece to Unknown Country, this is a lovely coming of age tale with a strong female center. The score, the visuals, its all transcendent in the way that immerses and lingers as a portrait of persons occupying space in the world from their particular vantage point. And then of course there is Lily Gladstone. Always a masterclass.
Lost in Starlight
I fully expect and imagine that as the year goes on and we get more animated fare (it’s been somewhat slim on that front up to this point), this is going to just increase in favour. It’s a love story following the individual but parallel paths of two persons and perspectives in a way that leads to worlds colliding. It is the kind of narrative structure anime is so adept at drawing out, and it, as is usually the case, packs an emotional punch. Stories about crossing that divide, that distance, will always resonate, and when packaged within the films gorgeous animation, bringing space and music together as part of the narrative and theme as a device, it is extremely satisfying.
Bridget Jones: Mad About The Boy
Without a doubt one of my biggest surprises. An exceptional exploration of grief, and more importantly the act of recovering life and joy in the midst of the struggle. Where is the wonder, the film asks. I think its here.
Predator: Killer of Killers
Speaking of top tier animation in 2025, don’t sleep on this one. This is an original anthology that traverses time periods that absolutely rocks from start to finish. Where else can we get the worlds of WW2, Vikings and feudal Japan colliding with larger than earth stakes.
Ballerina
John Wick exhaustion? Not when we have Ballerina. But let’s be clear, bringing in John Wick and embedding this in that world and story is equally part of what elevates this action flick to something that both carries that already established weight and carves its own path. It’s what big screen blockbusters are meant to be, and its commitment to a visual feast for the senses is what makes it so memorable.
How To Train Your Dragon
The animated films are among my favorite trilogies of all time, so my hopes and expectations for this was quite high. I can’t talk about this film without mentioning the sheer glee and joy of my theater experience. Watching this with a crowd genuinely excited to be there and anticipating and cheering with each beloved moment of what becomes a faithful adaption was a cherished moment. What makes this film stand out though is that it understands exactly what a live action remake should be. It preserves the integrity of the source material and understands precisely what live action adds or differentiates- the scope of that real world terrain with its cinematic presence and turning the camera to the intimacy that flesh and blood presence can tease out. It’s not better or worse than the animated film, it simply adapts and reimagines the same story from its particular vantage point with its own opporunities and limits being used to its benefit. And yes, I loved the story and characters just as much.
Exhibiting Forgiveness
A powerful indie, about as small as films can get in terms of budget and production, but also so extremely confident in what it wants to capture and explore in terms of father-son relationships and the complicated nature of forgivness. Its a film driven by the senses, including the way it utilzies the parallel devices of art and music. A massive part of what elevates this film to moments and points of real transcendence and meaning.
Materialists
I’m a huge fan of Celine Song’s Past Lives, so her follow up effort was among my most eagerly anticipated films. It’s a fascinating film to unpack given that it takes a very different path into her recognizable sensibilites. Much of this functions as a commentary on the nature of the hollywood rom-com, which for me really worked as an intelligent examination of the relationship between these stories and the modern landscape of dating and relationships. Using the superficiality of modern dating platforms and emphasis “qualifications” and status, she without inhibition and fear dives head first into the subject of more universal ideas such as marriage. Here she challenges us to consider the difference between a true value and a construct, challenging the modern conceptions to reflect on the real values and truths that lie underneath the superficial game of relationships that seem like a ship without an anchor. It’s a story that I deeply appreciated, as we don’t often get these intuitive and aware observations in a world bent towards tearing down constructs that have the appearance of threatening our tightly guarded individualism. Perhaps true liberty comes from elswhere.
The Penguin Lessons
This isn’t the kind of film that gets universally recognized, but where it finds someone to resonate with, its the sort of film that proves genuinely powerful as an emotive experience. I am one of those. I was drawn into the story, was genuinely touched by the journey, and felt changed afterwards in terms of my perspective. Its ultimately a film about the power of relationships, but its the way it fleshes this out against a larger backdrop of social and systemic struggle, something it leaves largely in the background, that elevates the simple character arcs informing its core. It wonders about what relaly matters in life, and it fleshes that out in the interactions between these unlikely friendships, all of which find their way through the presence of this humble penguin. I cried, and the film earned those tears, which is, for me a mark of a great film.
F1
The perfect summer movie that manages to distinguish itself amongst other “racing” films in ways that serve its emphasis on the inner workings of the race and its different people and components. At three hours long, it is structured in a way that allowed me to be immersed in the moment while feeling the satisfaction of a whole, sweeping story afterwards. It has some ambitious interplay that might have diverging mileage between viewers, but for me it was all anchored in the stakes, which paralleled the immediate (the outcome of the race) with the larger picture of these internal processes. A well-rounded and well exectuted blockbuster with substance is never something to take for granted.
Black Bag
There’s no question this film remains one of the most technically impressive of the year in the hands of one of the greats (Soderberg). It’s a masterclass in the art of dialogue driven narrative, using that to pit this impressive cast of characters in a delicious interplay stock full of social tension, plotted mystery, and power games. What Soderberg understands so intuitively is that what makes this more than a story is allowing the layers of the characters to sit and persist under the surface. This is what gives them, and the film, its complexity. If it is technically impressive, it doesn’t quite fit the bill of emotionally resonant, although it presents an interesting philosophical exercise, to be sure. Which leaves this as one I admired far more than I connected with on a meaningful level. There’s nothing wrong with that, and certainly I have no issues with carving out a space for such a film here, still lingering around the top of my list.
The Legend of Ochi
This occupies the other side of the coin. Admittedly it has some technical issues, and ironically this goes to show what takes precedence in my personal rating system, as I rated this lower than Black Bag despite having far more affection for it and far more of a preference for the story and for revisiting it. I’m actually staring down my own review- “I never expected it would land in my top 10 best of the year… It won’t.” And yet here I am. If my mind keeps going back to it, there is no reason it shouldn’t be here. It is one of my “personal favorites” of the year thus far, being tailor made for me on so many levels- sonically, visually, thematically. It took me back to being a kid and encountering some of those films that transformed my imagination so long ago. Exploring the human-creature relationship, using mythic storytelling focusing on characters who find they don’t belong in this world. The muted colours of the films aesthetic, the incredible landscape bringing the Carpathian region to life, borrowing from the regions own folklore to help us imagine a real world place where magic meets the darkness. The kind of story that for me finds me once again making sense of a confusing world.
28 Years Later
It would seem like a tall order for a third film in a beloved franchise to surpass the others, but this is precisely the case with Danny Boyle’s ambitious, risky endeavor, returning to the story’s raw and basic origins and then bringing in the sheer creative force of its expanded concern for the story in the way that it does. Its full of dramatic tonal shifts, using both music and place, all framed by these two parallel journies from the island to the mainfland, both from different POV’s. Ultimately it is about how we find those notes of transcendence in the darkness, glimpsiing new life in the sunrise, even where death persists. Visceral and powerful as a movie going experience.
Sinners
The jury is out for me on how this stands the test of time, but until I can get a couple rewatches under my belt, the sheer force of its wow factor paired with what the films thematic resonance brought about for me in my initial viewing, keeps this as a top contender. I can’t shake the feeling that some of that shine maybe masked some narrative problems, but not its heart. Here we get to its conversation about sin, both in a cyclical and systemic sense, and in a personal sense. As I wrote in my review, everyone in the film is running from something, and the brilliance of the film is where it shifts the focus to evoke the question of what they might be running towards. Or whether there is, indeed, anything to run towards. Here it brings us face to face with the two dueling forces- death and resurrection, imagining song as representing the power of those thin places where the spirit can cut through the tension with some revelatory sense of what is true. So much imagery, and certainly a profund visual presence. Sinners, even if it might have some weaknesses, is not a film you quickly forget.
The Ballad of Wallis Island
Such a sweet, gentle, good spirited movie. Exudes an unassuming charm and likeability that sweeps you into the simple beats of its quiet dramatic notes. So much so that it kept flying under the radar everytime I reassessed my working list of 2025 films. My most recent reflections just seemed to have the right moment to make this basic observation click for me- what film would I miss the most if it wasn’t here. I feel it would be this one. There is so much understated wisdom in its approach, landing the perfect marriage of tone and pacing, character and story. It all culiminates in a truly authentic experiernce designed and meant to lift ones spirit and point of view. One of a few films on my list that use music as part of its plot device, which is part of what makes its Irish setting come so alive.
The Stories of my Life 