Oscar season has finally passed, clearing the air for new films to introduce themselves to the world and hope to stay alive in the conversation throughout the year and beyond. Typically, three months into the year, you’re lucky to get one major film that stands out, but with studios less afraid to spread out their heavy hitters around the whole calendar year, January, February, and March managed to deliver a few notable new titles, one that may make a reappearance on my list at the end of the year.

5 BEST FILMS OF 2025

1. BLACK BAG (dir. Steven Soderbergh)

I still have yet to catch up with Soderbergh’s January release Presence, but I was pretty blown away by his slick, snazzy, and gorgeously lit Agatha Christie meets John le Carre spy thriller. It moves at a heartbeat pace, is designed exquisitely, and features a brilliant ensemble of actors, clearly having the time of their lives reciting the sizzling dialogue of David Koepp’s screenplay. Not only does Soderbergh still have it after all these years, he delivered his best in over a decade.

2. BRIDGET JONES: MAD ABOUT THE BOY (dir. Michael Morris)

You really can’t beat the frothy, cozy, rom-com excellence of the original Bridget Jones’ Diary, and while the sequels both have their bright spots (far more the third than the second), they could never match the same heights. Mad About the Boy surprises in being occasionally aesthetically and rhythmically different than the first three and leaning in on the emotional center, revealing itself to be a shockingly potent and deeply heartfelt portrayal of dealing with the death of a loved one and finding a way to continue life after loss. Not without its genuinely funny moments, it’s a unique and touching direction to close out this franchise.

3. COMPANION (dir. Drew Hancock)

Just when you think you know where this sci-fi thriller is going, it finds brilliantly fun ways to keep you on your toes. A film best left seen blind, the balance of tones and genres walks a fine line, but remains incredibly engrossing thanks to an empathetic and dynamic lead performance by Sophie Thatcher. While not quite reaching the heights of shock that its advertising comparison Barbarian (2022), it’s the perfect Friday night fun with friends flick.

4. PADDINGTON IN PERU (dir. Dougal Wilson)

It’s absolutely fair to feel the lack of Paul King’s magic touch in this threequel, as well as the absence of Sally Hawkins, but Wilson pulls it off primarily due to understanding the core of the franchise (the connection between Paddington and his adopted family, the Browns) and loading the story with as many great sight gags, Keaton-esque physical comedy, and A-list actors getting to be delightfully silly on camera, both heroes and villains. A threequel boosted by a smartly woven theme of the immigrant experience of returning home and the emotional ties to the land you originate from.

5. MICKEY 17 (dir. Bong Joon-Ho)

While hyped as one of the most anticipated movies of the year for most of Film Twitter, director Bong’s new film fits more snug alongside Okja than it does Snowpiercer. A film that lays its message on thick, perhaps too thick, repeating many of the same themes of his prior work in a less nuanced way than you may desire, but still filled to the brim with wildly imaginative ideas and a truly original sci-fi scope. Even one of Bong’s weakest films still manages to be better than 90% of blockbusters released today.

5 WORST FILMS OF 2025

5. ETERNAL YOU (dir. Moritz Riesewick & Hans Block)

An A.I. focused documentary that isn’t argumentative, entertaining, or dare I say human enough to hold interest in its subject matter. It likely would have worked better as a doc short than full-length as much of this just repeats, repeats, and repeats itself while not grappling enough with the moral and ethical issues surrounding AI use. Perhaps with this focus it shouldn’t have to, but it can’t escape feeling too creepy to achieve any emotional success.

4. CAPTAIN AMERICA: BRAVE NEW WORLD (dir. Julias Onah)

Yes, every film should have a Red Hulk in it, but these films have to be good, too. An absolute slop-job of careless filmmaking, noticeably bad reshooting, an aimless story with half a message, this is an incredibly underwhelming rebrand of the Captain America narrative among the larger Marvel Universe. Practically a middle finger to its star, Anthony Mackie, the film could not be less interested in its titular hero, instead distracting itself with tying up too many loose ends from prior forgotten Marvel entries.

3. BACK IN ACTION (dir. Seth Gordon)

Two A-list actors starring in a big flashy, original studio flick is something we crave these days, when done well. Unfortunately, just about everything that can go wrong, did with this dull, tired, unfunny, turn-your-brain-completely-off “comedy”. Netflix has handcrafted a new genre, the “Red Notice” movie. A money laundering scheme more than a real, functioning movie. At least we get Glenn Close with a silly accent.

2. MILLERS IN MARRIAGE (dir. Edward Burns)

Thankfully a movie that most people on Earth will never see or hear of, this stodgy, melodramatic acting reel, is a dry slog filled with vapid characters that pretend to have dimension rather than deliver anything compelling. Every second of this is too self-aware, overly-written, and dramatically unsatisfying. There are few worse things than a bad drama that you can’t even laugh at. An ensemble of talented actors clearly doing a favor to their director above anything else.

1. THE ELECTRIC STATE (dir. Joe and Anthony Russo)

Cinematic throw-up. A $300 million dollar waste of everyone’s time and money featuring actors that clearly were collecting checks (Giancarlo Esposito showing not even an ounce of caring to emote) and a premise so confusingly misguided, you can only assume the Russo Bros have the complete wrong idea about how our relationship with technology should be handled and think their geniuses in delivering this steaming pile of shit. Oh, and spoiler, it ends with Chris Pratt, with full sincerity, admitting he wants to fuck his robot sidekick. There are glimmers of competent filmmaking here, in small doses, but this script actively prevents this film from avoiding “all-timer misfire” status.

BEST PERFORMANCES

Best Actor: Robert Pattinson, MICKEY 17

Pattinson plays 17 iterations, though mostly just double duty duo performances, with the character of Mickey Barnes. Distinctly separating vocal and physical qualities to deliver two full-layered personalities, Pattinson is impossible to keep your eyes off of. Every line delivery, facial tweak is a burst of energy, an actor getting to fully transform himself without any physical disguise.

Best Actress: Sophie Thatcher, COMPANION

It’s hard to discuss her performance without spoiling the film, but Thatcher is magnetic, sympathetic, and tough-as-nails. Like watching a future A-list star giving us just a taste of what she will have in store in the future, and what we get already is magnetic. Her performance more than the writing is what keeps you rooting for her the entire film.

Best Supporting Actor: Hugh Grant, BRIDGET JONES: MAD ABOUT THE BOY

Just as wickedly sharp and funny as he’s always been, Grant, dealing with the haunting ideas of age and regret, layers his return of Daniel Cleaver with shades we’ve never seen before, becoming Bridget’s emotional support asshole and her children’s favorite naughty uncle. Grant isn’t in the film substantially, but every second he is, he’s unexpectedly moving and of course, undeniably charming as we know him to be.

Best Supporting Actress: Naomie Ackie, MICKEY 17

Having to be the figure at the center of Pattinson’s batshittery, Ackie is pretty luminous and utterly hilarious as the rebellious Nasha, comrade of Mickey who is delighted with Mickey’s new plurality and fiercely spits in the face of fascism. Ackie knows exactly at which level to tune her expressiveness, becoming immediately endearing, as well as totally badass, from the first minute she’s onscreen to the last.