2025 has not been a vintage year for this blog. I’ve been bloody hopeless but things are now getting back on track. I have three posts which are gently cooking and more ideas are coming. Thank you for bearing with me.
As the ‘End of Year List’ tends to be ubiquitous this time of year (I read three “books of the year” lists on Substack yesterday morning), it would be remiss of me not to reflect on my own film watching for 2025. I also really enjoyed writing my Roundup of 2024, it’s just fun to go back over 12 months of film watching.
There is much to concern a person who loves cinema and the creativity behind film. Not least the ongoing saga with the Warner Bros. takeover bid, the OpenAI-Disney deal and the launch of Tilly Norwood to name some. There are reasons to be optimistic too, I was happy to read this article about the rising numbers of under-35s heading to the cinema. A strong appreciation of cinema and the experience from younger audiences is essential to its survival. I hope this trend continues.
It also felt optimistic when I realised over half the films in my 2025 top ten come from original screenplays. This creativity is crucial and sadly funding remains difficult. Support these films in the cinema when you can.
But let’s get to it, here are my film and cinemagoing highlights from 2025.
Best Cinema Experiences:
BLADE (1998, dir. Stephen Norrington) – watched at the BFI IMAX, it’s my first time seeing this in decades and it still holds up. The cast, cinematography and action scenes are all impressive plus it has the best opening sequence for a superhero movie ever. It’s a cliché but they really don’t make them like this anymore.
THE MUPPET’S CHRISTMAS CAROL (1992, dir. Brian Henson) – my first ever singalong at The Prince Charles Cinema and I had an absolute blast. Who knew this Christmas classic could be improved by a rowdy audience singing and quoting along.
AN AMERICAN WEREWOLF IN LONDON (1981, dir. John Landis) – watched on Halloween with a huge audience at my local cinema, it was so much fun revisiting this. The audience was a real mixture of ages and seeing groups of young adults getting into this 80s classic was pretty special. I’d also forgotten how hilarious it is.
Top 10 of the year (new films):
TORNADO (2025, dir. John Maclean) – it received average reviews but I thought Maclean’s Scottish Western was intelligent and atmospheric. The performances by Kôki and Tim Roth elevate what could have been a fairly generic film. I just really loved the vibe of this one.
SISTER MIDNIGHT (2025, dir. Karan Kandhari) – wonderful and batshit in equal measure, Radhike Apte as Uma is one of my performances of the year. This won’t be for everyone but the story arc of Uma figuring out why she doesn’t quite fit in is a gem.
ONE BATTLE AFTER ANOTHER (2025, dir. Paul Thomas Anderson) – I watched this in VistaVision and 70mm (preferred the latter), it stands up well to a second viewing. Sean Penn’s best performance and a stand out turn from Chase Infiniti. Terrifically paced, great depictions of resistance (overt and covert) with a genuinely touching father-daughter story at the centre.
BUGONIA (2025, dir. Yorgos Lanthimos) – top performances from Emma Stone, Jesse Plemons and Aiden Delbis. Hilarious and horrifying in places, it’s never quite straightforward where your sympathies should lie. The less you know the better and settle in for the ending.
SORRY, BABY (2025, dir. Eva Victor) – as well as writing and directing the film, Victor plays Agnes who has been in a state of limbo following a sexual assault whilst at college. Focusing on Agnes’s journey to recovery rather than the assault itself, this is a considered (and surprisingly funny) take on overcoming trauma.
WEAPONS (2025, dir. Zach Cregger) – Cregger’s second feature is not without flaws but I loved every second of it. It is best to go in knowing as little as possible but, in short, an awful thing happens, some people are very irrational and the ones who may get to the bottom of it are terribly flawed. This is also laugh-out-loud funny, which I did not expect.
ISLANDS (2025, dir. Jan Ole Gerster) – languidly shot on the island of Fuerteventura, this strange neo-noir unfolds beautifully and subverts some of the genre conventions. The twist is both satisfying and frustrating in that it raises questions as well as answering them.
THE ICE TOWER (2025, dir. Lucile Hadžihalilović) – the creeping dread that envelops this film is so well done that when the inevitable end came, I was still taken by surprise. Marion Cottillard is luminous as prickly actor, Cristina, the focus of a young girl’s fascination. The juxtaposition of The Snow Queen fairytale could have been on the nose but Hadžihalilović makes it work.
PILLION (2025, dir. Harry Lighton) – particularly good turn by Harry Melling as Colin who enters into a BDSM relationship with Ray (Alexander Skarsgård). This is a wonderful British comedy which follows Colin as he discovers his kink, loves it but realises he has boundaries.
SINNERS (2025, dir. Ryan Coogler) – Michael B. Jordan is insanely good as twins Smoke and Stack in writer/director Coogler’s horror. This lost it slightly in the third act for me but it’s a solid film with impressive performances and musical set pieces. I watched this in my local cinema on a DCP but hope to catch it at the BFI IMAX this year, they still have a 70mm print…
Top 10 of the year (first time watch):
BLACK GIRL (1966, dir. Ousmane Sembene) – incredible central performance by Mbissine Thérèse as a Senegalese woman who works for a French couple. I loved the stripped back cinematography and simple composition which underpins a story that is anything but.
RATCATCHER (1999, dir. Lynne Ramsey) – I can’t believe it’s taken me this long to see Ramsey’s debut film. Told from the perspective of young protagonist, James (William Eadie), this isn’t your average slice of social realism. She manages to draw out the humour and imagination of childhood from what might have been a too-bleak backdrop and story.
BLOW OUT (1981, dir. Brian De Palma) – with nods to Michealangelo Antonini’s BLOW-UP (1966) and Francis Ford Coppola’s THE CONVERSATION (1974), De Palma’s neo-noir is slick, paranoid and cynical. Weaving in threads from known conspiracies, this can feel laden down at times but is still an impressively executed thriller.
SCANNERS (1981, dir. David Cronenberg) – Stephen Lack as Cameron Vale, a man who discovers he has psychic powers, is not the greatest leading man but a strong cast, good pacing and visual style carry him. The head explosion scene was every bit as good as I hoped.
POLITE SOCIETY (2023, dir. Nida Manzoor) – this British martial arts-comedy sees Ria (Priya Kansara), a teenager aspiring to be a stuntwoman, attempting to save her sister Lena (Ritu Arya) from a disastrous marriage. This is so much fun with proper entertaining action scenes. If you loved the humour in Manzoor’s Channel 4 series, WE ARE LADY PARTS (2021-2024), you’ll love this.
HUD (1963, dir. Martin Ritt) – Paul Newman plays a likable arsehole in this adaptation of Larry McMurtry’s novel. Themes of family, masculinity and socio-economic change against a beautifully bleak landscape. The cinematography is just stunning (hat-tip to James Wong Howe), see it on the biggest screen you can.
A MOMENT OF INNOCENCE (1996, dir. Mohsen Makhmalbaf) – this meta-fictional tale of a director recreating an assault he committed on a police officer may seem mundane and strange, especially when he approaches the actual officer to take part. Don’t be fooled, the ending is devastating.
DAZED AND CONFUSED (1993, dir. Richard Linklater) – I loved EVERYBODY WANTS SOME!! (2016) which is more of a companion piece than a sequel. DAZED still holds up as a teen movie and carries its nasty streak well. Parker Posey was just *chef’s kiss* as catty Darla.
TO SLEEP WITH ANGER (1990, dir. Charles Burnett) – I can’t say enough good things about this film. From the opening credits sequence to the strange events which follow the arrival of Danny Glover’s Harry, the old friend who outstays his welcome, you’re never sure where this film is going. So many themes to unpack – just go see it with a friend and have a pint to discuss afterwards.
OLDBOY (2003, dir. Park Chan-wook) – watched as part of a late-night screening, which is the best way to catch this noirish thriller. Oh Dae-su (Choi Min-sik) is kidnapped and imprisoned for 15 years. After being released he thinks the worst is over. It’s really not. So bloody good, the corridor fight scene with a hammer is one of my favourite ever action sequences.
Disappointments:
NOSFERATU (2024, dir. Robert Eggers) – I went in with an open mind but sadly this did nothing for me. It looks great, Bill Skarsgård made for a strangely sexy monster but was I ultimately underwhelmed. I’m totally in for his WERWULF though which is due for UK release in January 2027.
THE MATERIALISTS (2025, dir. Celine Song) – confused narrative, unconvincing characters and complex issues wrapped up a little too neatly. As PAST LIVES (2023) was so good, I’m still very curious to see what Song does next.
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