Overdue Top Ten of 2025

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The main reason this article (which, incidentally, I feel no obligation to complete and do not do every year) is late is because The Testament of Ann Lee shook our world (Lady Steed and I are still consumed by it—I was just relistening to the soundtrack [again] yesterday) but, even though Letterboxd calls it a 2025 movie, we had no opportunity to watch it last year. So does it even belong on a 2025 list? I mean—Sketch is going on my 2025 list even though Letterboxd calls it a 2024 film. And I just saw OBEX in theaters even though it’s a “2025” movie. Eephus I saw in January although it’s a 2024 film I first could have seen in 2025. So what year should I count it as?

In the end, I decided feature films (acording to my indiosyncratic definition of over-thirty-minutes-long) that a) I have seen as of this writing that b) I could have first seen in 2025 given a nominal amount of effort will qualify. I’ll pull my top ten from the resulting list of twenty-eight. Which means I’m leaving off some films I liked quite a lot or that I want to give attention to.

For instance, the practical effects of The Legend of Ochi, the goofy existentialism of Mickey 17, the glorious visuals of Tron: Eros, the fine theatrical ride of Zootopia 2, the excellently executed biopic of a personal hero of mine that was Truth & Treason (Oscar-shortlisted score!)—these are movies I didn’t like enough to seriously consider putting on my top ten, but they had something worth experiencing on offer.

And then there are movies that were hard to leave off the list, like the emotional conclusiveness of Eephus, the mad horror of Weapons, the fine superheroics of Superman, the absolutely wonderful Presence which only didn’t make the list because I fear it might be gimmicky on a second watch, and Materialists which didn’t make the list simply because I had to cut one more to get to ten.

So without further ado, alphabetically, my Top Ten of 2025:

Black Bag: A movie that, were our movie-watching habits as they were circa 2024 and our stage of life exactly where it is now in 2026, would be a regular rewatch for Lady Steed and me. I hope, someday, when there are fewer kids cramping outstyle, it turns into an old favorite. It’s like Ocean’s Eleven for the happily married.

Eternity: I really liked this movie and I’m happy if a little surprised it made the top ten. I think it beat out its closer competitors because Lady Steed liked it so much. It’s probably the movie (outside Ann Lee) she’s invited into conversations with me and friends and aquiantences more than any that we’ve seen in the last couple years.

Frankenstein: This movie’s lucky I decided not to count Ann Lee because that makes it my favorite film of 2025. I could come up with a lot of ways to rank Frankenstein adaptations and in some reasonable rankings, this film doesn’t have a prayer. But it might be my favorite and it is excellent by every metric that matters except strict fidelity. A film that is both a good Frankenstein and true to the book may not be possible (is it for any book?) but this one is not only an excellent film on its own merits but it is also an excellent entry in the conversation between previous creators, most notably Mary Shelley and James Whale—and that matters when you’re engaging with one of the most adapted texts of all time. Plus, and I know I’ve said this, but it’s such a dang good movie. The production design, the camerawork, the acting, the editing—it’s all great. It may not win a single Oscar this year but it my heart it is the true winner.

Hamnet: Another thing about delaying my writing of this list is not only did I see Hamnet, but I also had enought time to mull it over such that it rose in my estimation. I liked it, sure, I thought it was beautiful and well acted, but I wasn’t sure what I felt about it as a whole. As it has settled into memory and become an experience past, I have come to believe more fully in the Hamlet portion of the film and that’s what was necessary to accept the film as a whole into my heart.

A Minecraft Movie: This is the best IP-based film of the year, imo. I did have a disagreement with one of my favorite film writers earlier this year after he dismissed this film as “one of [his] least favorite” and he was willing to admit that perhaps he hadn’t “given this a fair shake as an auteurist work” which is, I think an important way to think about it. Certainly, my experience at the theater was one of constantly laughing like I was seeing Napoleon Dynamite for the first time. First and foremost, someone, the suits allowed Jared Hess to make a Jared Hess movie. I’ve never played Minecraft and am unlikely to start but I do read Hess films and this one’s a keeper. Long live the Hess.

One Battle After Another: I am anxious to see this again and am sad I missed the rerelease. I’m certain it will improve on second viewing and I’m just as certain a second viewing will help me figure out exactly what kind(s) of movie it is. But it’s not often a movie, after only one viewing, becomes one I feel like quoting so let me just say, “Thank you, Sensei! Thank you!” and “Viva la Revolución!”

The Phoenician Scheme: I don’t get why this got so little love. Maybe critics, after the formal creativity of Wes Anderson’s last two films were a little disappointed that this one was more straightforward? Or maybe audiences still found it too weird? Some people thought it overly stylized and emotionally hollow, but that always happens to Wes. And that’s never how I feel. I thought this was a beautiful meditation on family and priorities and a brutal (though kindly delivered) attack on capitalism etc etc. Anyway. It was great. Write it down.

Sinners: After it broke the record for most nominations, Lady Steed overcame the terror the trailer inspired in her and decided to see the movie. Which was great because not only was did it come back to theaters, but it was gonna play in Grand Lake indefinitely because Grand Lake supports its Oakland filmmakers. It was a great rewatch as well. The speakers were a little buzzy so some of the dialogue was hard to hear, but even so I picked up lots of auditory and visual details, connections in the beginning to the end, lotsa stuff that was worth a revisit. A true crowdpleaser and filmically inventive. If it ends up taking all the awards, okay.

Sketch: This is arguably the best family movie to come out in years. Yes, including animated films. Your mileage may very but no question you will be glad you watched it. Which reminds me—you can hear me talking about it here.

Wake Up Dead Man: Given the chance to rewatch, this might have been my top film of 2025. Glass Onion was in 2022, after all. One of the smartest (intellectually and emotionally) explorations of things cynical and hopeful, secular and religious, confused and confusing, near and far, light and dark. It’s so good. And once again I end the year pissed off at Netflix. Release your freaking movies on dvd you jerks.

Twenty-eight 2025 movies really isn’t all that many. Obviously I missed many excellent ones. My she’s-in-the-Academy neighbor liked The Secret Agent best (and didn’t like Ann Lee!) which I still hope to see, but I do hope you’ll tell me what you’re most sad (for me) I missed. What were your winners?