Entertainment
The 10 best movies of 2025 — and where to find them
A funny thing about this year’s best films: Half of them are adaptations. As a movie lover who’s always hunting for new talent, new ideas and new stimuli, I used to view that as creative inertia. But 2025 has changed my mind.
Now I see artists drawing inspiration from the past to show that Hollywood should trust the sturdy bones that have kept it running for over a century: good yarns, bold casting, films that don’t feel made by focus groups or doomsaying bean-counters (or, God help us, AI), but by blood and sweat.
Our picks for this year’s best in arts and entertainment.
From original tales to radical reworkings of classics both high-falutin’ and raucously lowbrow, these 10 filmmakers all know that the most vital part of the storytelling business has stayed exactly the same. They have to wow an audience. And they did.
1. ‘Sinners’
Michael B. Jordan as twins Smoke and Stack in the movie “Sinners.”
(Warner Bros. Pictures)
A period-piece-vampire-musical mashup could have been discordant, but writer-director Ryan Coogler confidently makes all three genres harmonize. In “Sinners,” Coogler double-casts his longtime collaborator Michael B. Jordan as twin bootleggers Smoke and Stack, then pits them against a pack of banjo-picking bloodsuckers helmed by a roguish Jack O’Connell. We’re expecting a big, bloody brouhaha and we get it. Underneath the playful carnage, however, the question at stake is: Why suffer the daily indignities of the Jim Crow-era South when you could outlive — and eat — your oppressors? “Sinners” is the most exciting film of 2025, both for what it is and for what it proves: that fresh blockbusters still exist and people are eager to gobble them up.
(“Sinners” is available on multiple platforms.)
2. ‘Hedda’
Tessa Thompson in the movie “Hedda.”
(Prime Video)
The stage’s iconic mean girl glides from 1890s Norway to 1950s England in this vibrant and venomous adaptation of Henrik Ibsen’s “Hedda Gabler.” Tessa Thompson stars as the restless housewife who needs to secure her milquetoast husband (Tom Bateman) a promotion and has a nasty habit of playing with guns. Keeping pace with her manipulative anti-heroine, writer-director Nia DaCosta (“Candyman”) makes a few calculated moves of her own, including gender-swapping Hedda’s ex into a curvaceous career woman (a haughty Nina Hoss) whose drab and geeky new girlfriend (Imogen Poots) irritates their hostess’ insecurities. As a capper, “Hedda” stages its brutal showdown at an all-night vodka-and-cocaine-fueled mansion shebang with a live jazz band, a lake for skinny-dippers and a hedge maze where former lovers are tempted to canoodle. The original play is over a century old, but every scene feels screamingly alive.
(“Hedda” is available on Prime Video.)
3. ‘Eddington’
Joaquin Phoenix, left, and Pedro Pascal in “Eddington.”
(A24)
No film was more polarizing than Ari Aster’s COVID-set satire about a mask-hating sheriff (Joaquin Phoenix), a sanctimonious mayor (Pedro Pascal) and the high-tech cabal that benefits when these two modern cowboys come to blows. “Eddington” immortalizes the bleak humor and lingo of May 2020 (think murder hornets, Antifa and toilet paper hoarders). More stingingly, it captures the mental delirium of a small town — make that an entire planet — that hasn’t yet realized that there’s a second sickness seeping in through their smartphones. Everyone’s got a device in their hand pretty much all the time, aiming their cameras at each other like pistols in a Wild West standoff. Yet no character grasps what’s really going on. (I have a theory, but when I explain the larger conspiracy, I sound cuckoo too.) This is the movie that will explain pandemic brain to future generations. With distance, I’m pretty sure the haters will come around.
(“Eddington” is available on multiple platforms.)
4. ‘One Battle After Another’
Leonardo DiCaprio in the movie “One Battle After Another.”
(Warner Bros. Pictures)
Every shot in Paul Thomas Anderson’s invigorating nail-biter is a banger: sentinels skateboarding over rooftops, caged kids playing catch with a crumpled foil blanket, Teyana Taylor’s militant Perfidia Beverly Hills blasting an automatic rifle while nine months pregnant. It’s the rare film that instantly imprints itself on the viewer. On my second watch, I was shocked by how much of “One Battle After Another” already felt tattooed on my brain, down to the shudder I got from Sean Penn’s loathsome Col. Lockjaw licking his comb to tidy his bangs. Riffing from Thomas Pynchon’s “Vineland,” the central drama follows flunky anarchist Bob (Leonardo DiCaprio) fumblingly attempting to rescue his daughter (Chase Infiniti) from Lockjaw’s clutches. But he’s not much help to her, and as the title implies, this is merely one skirmish in humanity’s sprawling struggle for freedom that has, and will, drag on forever. Anderson’s knack for ensemble work stretches back as far as “Boogie Nights,” yet here, even his unnamed characters have crucial roles to play. His world-building has never before felt this holistic and inspirational.
(“One Battle After Another” is now playing in theaters.)
5. ‘Kiss of the Spider Woman’
Jennifer Lopez and Tonatiuh in the movie “Kiss of the Spider Woman.”
(Roadside Attractions)
The backstory behind this stunner couldn’t be more baroque: Director Bill Condon (“Dreamgirls”) boldly revamped a Broadway musical of an Oscar-winning drama (itself taken from an experimental novel) about two inmates in an Argentinean cell who mentally escape into the movies. Each incarnation has doubled down on the sensorial overload of what came before. If you know “Kiss of the Spider Woman’s” lineage, you’ll be impressed by how Condon ups the fantasy and stokes the revolutionary glamour with more Technicolor dance showcases for Jennifer Lopez’. (She’s doing her best Cyd Charisse, which turns out to be darned good.) If this is your first taste of the tale, give yourself over to the prickly but tender relationship between prisoners Luis and Valentin, played by feisty new talent Tonatiuh and a red-blooded Diego Luna. This is go-for-broke filmmaking with a wallop. As Luis says of his own version of “Kiss of the Spider Woman” playing in his head, “Call it kitsch, call it camp — I don’t care, I love it.”
(“Kiss of the Spider Woman” is available on multiple platforms.)
6. ‘A Useful Ghost’
A scene from the movie “A Useful Ghost.”
(TIFF)
Thai director Ratchapoom Boonbunchachoke’s Cannes Grand Prix winner opens with a haunted vacuum cleaner. From there, it gets even more surprising. Ghosts have infested a wealthy widow’s factory and are possessing appliances, seducing her son and cozying up to the prime minister for favors. Some of these people have died by accident, some by corporate neglect or worse. This droll spook show bleeds into romance and politics and, to our shock, becomes genuinely emotional. (It helps to remember that the military killed over 80 Bangkok protestors in 2010.) But why vacuum cleaners, you ask? The conceit is more than a sticky idea. Ordinary people can get crushed but the anger they leave behind lingers like fine dust.
(“A Useful Ghost” opens Jan. 16, 2026, in theaters.)
7. ‘The Roses’
Olivia Colman and Benedict Cumberbatch in the movie “The Roses.”
(Jaap Buitendijk / Searchlight Pictures)
Technically, “The Roses” is rooted in the 1980s hit novel and subsequent blockbuster “The War of the Roses,” which starred Michael Douglas and Kathleen Turner as an estranged couple who attack each other with lawyers, poison and chandeliers. In spirit, however, this redo is pure 1930s screwball comedy. Leads Benedict Cumberbatch and Olivia Colman are skilled verbal ninjas who hurl razor-sharp insults at each other’s egos, and although their characters’ divorce happens in California, director Jay Roach lets the actors keep their snippy British accents. The script by two-time Oscar nominee Tony McNamara (“The Favourite,” “Poor Things”) adds a cruel twist to the original: This time around, the marrieds truly do try their damnedest to love and support each other. And still, their walls come tumbling down.
(“The Roses” is available on multiple platforms.)
8. ‘In Whose Name?’
Ye and Elon Musk in the documentary “In Whose Name?”
(AMSI Entertainment)
Nico Ballesteros was a high schooler with an iPhone when he entered Kanye West’s orbit in 2018. Over the next six years, the Orange County kid shot over 3,000 hours of footage as Ye (as the artist legally became known in 2021) jetted from Paris to Uganda, Calabasas to the White House, meeting everyone from Kenny G to Elon Musk on a quest to fulfill his creative and spiritual goals while incinerating his personal life and public reputation. Ye gave the documentarian full access with no editorial oversight, besides one moment in which he tells the camera that he wants the film to be about mental health. This riveting tragedy definitely is. We see an egomaniac whose fear of being beholden to anything motivates him to go off his meds, a billionaire provocateur who believes he can afford the consequences of his bigotry and, above all, a deeply flawed man who nukes his entire world to insist he’s right.
(“In Whose Name?” is available on multiple platforms.)
9. ‘Sirāt’
An image from the movie “Sirāt,” directed by Oliver Laxe.
(Festival de Cannes)
The techno soundtrack of Oliver Laxe’s desolate road thriller has rattled my house for months. Lately, I’ve spent just as much time contemplating the movie’s silence — those hushed stretches in which this caravan of bohemians speeds across the Moroccan desert looking like the only free people left on Earth. A father, Luis (“Pan’s Labyrinth’s” Sergi López), and his 12-year-old son team up with this band of tattooed burnouts in the hope of finding the boy’s runaway sister. Before long, Luis is just hoping to make it to safety, assuming anywhere safe still exists. Static on the radio warns that World War III might be underway. These outsiders click off the news and crank up the music. The paradox of “Sirāt” is that I’m dying to talk about it more but I’ve got to keep my mouth shut until people experience its dramatic twists for themselves.
(“Sirāt” returns to theaters on Feb. 6, 2026.)
10. ‘The Naked Gun’
Pamela Anderson and Liam Neeson in the movie “The Naked Gun.”
(Frank Masi / Paramount Pictures)
Liam Neeson needed this pummeling pun-fest. So did everyone else in 2025. Director Akiva Schaffer’s continuation of the “Police Squad!” franchise let the 73-year-old “Taken” star poke fun at his own bruising gravitas. Playing the son of Leslie Nielsen’s Lt. Frank Drebin, Neeson kept us in hysterics with a stupid-brilliant barrage of surreal wordplay and daffy slapstick. The casting was as odd — and perfect — as rumors that he and his co-star Pamela Anderson started dating on set. This fourth sequel didn’t try to outsmart the classic Zucker, Abrahams and Zucker template. It simply told the same old story: Cop meets babe, cop and babe canoodle with a magical snowman, cop drops his trousers on live TV, this time minus the blimp. Goodyear? No, the worst — which made Neeson our hero.
(“The Naked Gun” is available on multiple platforms.)
Since I’m all jazzed-up about great movies, here are 10 honorable mentions very much worth a watch.
“The Ballad of Wallis Island”
A kooky millionaire strong-arms his favorite mid-aughts folk duo into playing a reunion show on his Welsh island. Sounds cutesy, but it’s the movie I recommended most — to everyone from my mailman to my mother. They all loved it. Join the fan club.
“Bunny”
This East Village indie by debut director Ben Jacobson is a scummy gem. A gigolo’s birthday goes very wrong. But all the characters racing up and down the stairs of his uber-New York walk-up hovel are a howl.
“If I Had Legs I’d Kick You”
Rose Byrne excels equally at comedy and drama. This audit of a breakdown smashes both together and cranks the tension up to eleven. Playing a high-stress working mom of an ill child, her try-hard heroine leans in so harrowingly far, she goes kamikaze.
“Lurker”
Today’s celebrity might be viral on Instagram and unknown everywhere else. Alex Russell’s stomach-churning psychodrama stars Archie Madekwe as an L.A.-based singer on the brink of genuine fame and Théodore Pellerin as the hanger-on who endures — and exploits — the fledgling star’s power moves and hazy boundaries.
“Magic Farm”
Filmmaker Amalia Ulman’s rascally farce stars Chloë Sevigny and Alex Wolff as clickbait journalists who fly to Argentina to shoot a viral video about a singer in a bunny costume and wind up looking twice as ridiculous.
Keke Palmer, left, and SZA in the movie “One of Them Days.”
(Anne Marie Fox / Sony Pictures)
“One of Them Days”
Keke Palmer and SZA play broke Baldwin Hills roommates who have nine hours to make rent. I’d happily watch their stoner hijinks in real time.
“The Perfect Neighbor”
Pieced together primarily from police body-camera footage, Geeta Gandbhir’s documentary unfurls in a Florida cul-de-sac where a community — adults, kids and cops — agrees that one woman is an entitled pill. The problem is she thinks they’re the problem. And she has a gun.
“Sisu: Road to Revenge”
If Buster Keaton were alive, he’d hail this grisly, mostly mute Finnish action flick as a worthy successor to “The General.” It even boasts a thrilling sequence on a train, although director Jalmari Helander also brazenly poaches from “Die Hard” and “Mad Max: Fury Road.”
“Train Dreams”
Trees fall in the woods and a 20th-century logger (Joel Edgerton) plays an unheard, unthanked but beautiful role in the building of America.
“Wake Up Dead Man: A Knives Out Mystery”
Detective Benoit Blanc (Daniel Craig) teams up with a soul-searching priest (Josh O’Connor) to solve a perplexing church stabbing. From deft plot twists to provocative Catholic theology, Rian Johnson’s crowd-pleasing murder mystery is marvelously executed.
Entertainment
Bob Spitz proves the Rolling Stones are rock’s greatest band in magnificent new biography
By early 1963, the Station Hotel in London had become an epicenter of the burgeoning British blues scene. On a blustery, snowy night that February, the Rolling Stones’ classic early lineup took the stage for one of the first times, dazzling the audience with ferocious renditions of blues standards like Muddy Waters’ “I Want to Be Loved” and Jimmy Reed’s “Bright Lights, Big City.”
Multi-instrumentalist Brian Jones, the band’s founder and leader, synchronized guitars with Keith Richards, who favored a distinctive slashing and stinging style. Drummer Charlie Watts, the group’s newest member, a jazz aficionado and an accomplished percussionist, propelled the music forward with a rock-solid beat.
Anchoring the rhythm section with him was bassist Bill Wyman, who was recruited more for his spare VOX AC30 amp that the guitarists could plug into than for his musical skills. The stoic bassist proved a strong and innovative player. Together, he and Watts would go on to form one of rock’s most decorated rhythm sections.
Ian Stewart’s energetic boogie-woogie piano style rounded out the sound. Months later, manager Andrew Loog Oldham kicked him out of the band for being “ugly,” although Stewart continued to record, tour and serve as the band’s road manager until his death in 1985.
This April 8, 1964, file photo shows the Rolling Stones during a rehearsal. The members, from left, are Brian Jones, guitar; Bill Wyman, bass; Charlie Watts, drums; Mick Jagger, vocals; and Keith Richards, guitar.
(Associated Press)
Fronting the group was Mick Jagger. Channeling the music like a crazed shaman, Jagger shimmied and sashayed, owning the stage like few lead singers have before or since. By the end of the night, the Stones had the crowd in a frenzy. Although only 30 people had made it to the gig because of the treacherous weather conditions, the hotel’s booker had seen enough: He offered the Stones a regular gig.
“The Rolling Stones had caught fire. The music they were playing and the way they played it struck a chord with a young crowd starved for something different, something their own… It was soul-stirring, loud and uncompromising,” writes Bob Spitz in “The Rolling Stones: The Biography,” his magisterial work that charts the 60-year journey of “the greatest rock and roll band in the world.”
Spitz, the author of strong biographies on the Beatles and Led Zeppelin, as well as Ronald Reagan and Julia Child, captures the drama, trauma and betrayals that have kept the Stones in the public’s consciousness for more than six decades. It’s all here: The Stones’ evolution from a blues cover band to artistic rival of the Beatles; the musical peaks — “Aftermath,” “Let It Bleed” and “Exile on Main Street” as well as misfires like “Dirty Work”; Keith’s descent into a debilitating heroin addiction that nearly destroyed him and the band; the death of the ‘60s at the ill-fated Altamont free concert; Marianne Faithfull, Anita Pallenberg, Bianca Jagger, Jerry Hall and other lovers, partners and muses; the breakups, makeups and crackups; and perhaps most important, the unbreakable bond between Jagger and Richards at the center of it all.
Although Spitz unearths little new information, he excels at presenting the Stones in glorious Technicolor. Spitz homes in on the telling details and anecdotes that give the band’s story a deep richness and poignancy.
Take “Satisfaction,” the Stones’ 1965 classic and first U.S. chart topper. The oft-told story is that Richards woke up in the middle of the night, grabbed the guitar that was next to his bed, and recorded the iconic riff and the phrase “I can’t get no … satisfaction” on a cassette recorder in his Clearwater, Fla., hotel room before falling back asleep. But as Spitz notes, the song initially went nowhere in the studio. That is until Stewart purchased a fuzz box for Richards a few days later, which gave the tune a raunchier sound that perfectly matched Jagger’s lyrics of frustration and alienation. A classic was born.
Piercing the Stones mythology
Spitz’s deep reporting often pierces the mythology surrounding the band. Contrary to the popular belief of many fans, for instance, Jones bears much of the responsibility for the rift with his bandmates and his tragic demise.
The most musically adventurous member of the group — he plays sitar on “Paint It Black” and dulcimer on “Lady Jane” — Jones wasn’t a songwriter. That stoked his jealousies and insecurities, along with frontman Jagger stealing the spotlight from him. A monster of a man, Jones impregnated multiple teenage girls and physically and emotionally abused several women, including Pallenberg. Perhaps that’s why she left him for Richards. Over time, Jones made fewer contributions in the studio and onstage, becoming a catatonic drug casualty. The Stones fired Jones in June 1969 but would have been justified doing so a couple years earlier. He drowned in his pool less than a month later.
Author Bob Spitz
(Elena Seibert)
Similarly, Stones lore has long romanticized the making of “Exile on Main Street” in the stifling, dingy basement of Richards’ rented Villa Nellcôte in the South of France, where the Stones had decamped to avoid British taxes. In this telling, Richards, deep in the throes of heroin addiction, somehow managed to come up with one indelible riff after another built around his signature open G tuning — taught to him by Ry Cooder — leading the band to create one of the best albums in rock history. That’s not entirely accurate, according to Spitz.
Yes, Richards came up with the licks for “Rocks Off,” “Happy” and “Tumbling Dice.” But it’s equally true that a strung-out Richards missed myriad recording sessions, invited dealers, hangers-on and other distractions to Nellcôte, and repeatedly failed to turn up to write with Jagger. Far from completing the album in the druggy haze of a French basement, the band spent six months on overdubs at Sunset Sound in Los Angeles, where Jagger contributed many of his vocals.
Beatles vs. Stones
One of the more interesting themes Spitz develops is the symbiotic relationship between the Beatles and Stones, with the Fab Four mostly overshadowing them — until they didn’t.
John Lennon and Paul McCartney wrote “I Wanna Be Your Man” and gave it to the Stones, whose 1963 rendition, with Jones on slide guitar, became the group’s first UK Top 20 hit. The Lennon-McCartney songwriting partnership inspired Jagger and Richards to begin penning their own songs. In early 1964, the Beatles came to the U.S. for the first time, making television history with their appearance on “The Ed Sullivan Show” and playing Carnegie Hall. A few months later, the Stones kicked off their inaugural American tour at the Swing Auditorium in San Bernardino. In 1967, the Beatles released “Sgt. Pepper’s Lonely Hearts Club Band,” a psychedelic masterpiece. The Stones responded with “Their Satanic Majesties Request,” a psychedelic mess.
The Rolling Stones: The Biography cover
As the Beatles began to splinter, Spitz writes, the Stones sharpened their focus. The band released “Beggars Banquet” in late 1968 and “Let It Bleed” the following year, albums every bit as innovative and visionary as “The White Album” and “Abbey Road.” For the first time, the two groups stood as equals.
When the Beatles broke up in 1970, the Stones kept rolling. With Jones replaced by virtuoso guitarist Mick Taylor — whose fluid, melodic style served as a tasty foil to Richards — they produced what many consider their finest works, “Sticky Fingers” and “Exile on Main Street.” More impressively, the band, with Taylor’s successor, Ronnie Wood, has continued to dazzle audiences with incendiary live shows, touring as recently as 2024 behind the late-career triumph “Hackney Diamonds.” The Beatles, by contrast, retired from the road in 1966 and devoted their energies to the studio.
Hundreds of books have been written about the Rolling Stones, but few sparkle quite like Spitz’s. For anyone who loves or even likes the Stones, it’s indispensable.
Like most of the band’s biographers, Spitz gives short shrift to the post-“Exile” period after 1972. He curtly dismisses 2005’s strong “A Bigger Bang” and 2016’s “Blue & Lonesome,” a back-to-basics album of blues covers, as “adequate endeavors that signaled a band living on borrowed time.” That critique is both off target and under-developed. Spitz ignores the band’s legendary live album, “Brussels Affair,” recorded in 1973, or why the band waited decades before officially releasing it.
These are small quibbles. Spitz has written a book worthy of its 704-page length; another 50 or so pages covering the later years would have made it even stronger. To quote the Rolling Stones: “I know it’s only rock ‘n roll, but I like it, like it, yes, I do.”
Marc Ballon, a former Times, Forbes and Inc. Magazine reporter, teaches an advanced writing class at USC. He lives in Fullerton.
‘4’, the opening track on Richard D James’ (Aphex Twin) self titled 1996 album is a piece of music that beautifully balances the chaotic with the serene, the oppressive and the freeing. It’s a trick that James has pulled off multiple times throughout his career and it is a huge part of what makes him such an iconic and influential artist. Many people have laid the “next Aphex Twin” label on musicians who do things slightly different and when you actually hear their music you realise that, once again, the label is flawed and applied with a lazy attitude. Why mention this? Well, it turns out we’ve been looking for James’ heir apparent in the wrong artform. We’ve so zoned in on music that we’ve not noticed that another Celtic son of Cornwall is rewriting an art form with that highwire balancing act between chaos and beauty. That artist is writer, director and composer Mark Jenkin who over his last two feature films has announced himself as an idiosyncratic voice who is creating his very own language within the world of cinema. Jenkin’s films are often centred around coastal towns or islands and whilst they are experimental or even unsettling, there is always a big heart at the centre of the narrative. A heart that cares about family, tradition, culture, and the pull of ‘home’. Even during the horror of 2022’s brilliant Enys Men you were anchored by the vulnerability and determination of its main protagonist.
This month sees the release of Jenkin’s latest feature film, Rose of Nevada, which is set in a fractured and diminished Cornish coastal town. One day the fishing boat of the film’s title arrives back in harbour after being missing for thirty years. The boat is unoccupied. And frankly that is all the information you are going to get because to discuss any more plot would be unfair on you and disrespectful to Jenkin and the team behind the film. You the viewer should be the one who decides what it is about because thematically there are so many wonderful threads to pull on. This writer’s opinions on what it is about have ranged from a theme of sacrifice for the good of a community to the conflict within when part of you wants to run away from your roots whilst the other half longs to stay and be a lifelong part of its tapestry. Is it about Brexit? Could be. Is it about our own relationships with time and our curation of memory? Could be. Is it about both the positives and negatives of nostalgia? Could be. As a side note, anyone in their mid-40s, like me, who came of age in the 1990s will certainly find moments of warm recognition. Is the film about ghosts and how they haunt families? Could be…I think you get the point.
The elements that make the film so well balanced between chaos and calm are many. It is there in the differing performances between the brilliant two lead actors George MacKay and Callum Turner. It is there in the sound design which fluctuates from being unbearably harsh and metallic, to lulling and warm. It is there in the editing where short, sharp close ups on seemingly unimportant factors are counterbalanced with shots that are held for just that little bit too long. For a film set around the sea, it is apt that it can make you feel like you’re rolling on a stomach churning storm one minute, or a calming low tide the next. Dialogue can be front and centre or blurred and buried under static. One shot is bathed in harsh sunlight whilst the next can be drowned in interior shadows.
Rose of Nevada is Mark Jenkin’s most ambitious film to date yet he has not lost a single iota of innovation, singularity of vision or his gift for telling the most human of stories. It is a film that will tell you different things each time you see it and whilst there are moments that can confuse or beguile, there is so much empathy and love that it can leave you crying tears of emotional understanding. It is chaotic. It is beautiful. It is life……
Rose of Nevada is released on the 24th April.
Mark Jenkin Instagram | Threads
Released through the BFI – Instagram | Facebook
Review by Simon Tucker
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