HAT TIPS

SISTER MIDNIGHT

SORRY, BABY

EEPHUS

ON BECOMING A GUINEA FOWL

SINNERS

ONE BATTLE AFTER ANOTHER

TRAIN DREAMS

UNIVERSAL LANGUAGE

GRAND TOUR

BLACK BAG

ORWELL 2 + 2 = 5

NOUVELLE VAGUE

EX-HUSBANDS

SPLITSVILLE

BREAKOUT STAR OF 2025

**Chase Infiniti, One Battle After Another**

NOTABLES

CAUGHT BY THE TIDES

FREAKY TALES

WAKE UP DEAD MAN

KILL THE JOCKEY

HARVEST

28 YEARS LATER

HOT MILK

STEPPENWOLF

STUFF

CLOUD - A brief, pristine shot of darkness enveloping a home. It is beautiful and fleeting, but it may be my favorite single visual moment of the whole year.

ONE BATTLE AFTER ANOTHER - Every second of banter between DiCaprio and del Toro was a tonic for the urgent threats facing their characters.

EEPHUS, KILL THE JOCKEY, and SORRY, BABY - For me, the best surprises of the year. Films that I went into cold, no knowledge or expectations, and they absolutely walloped me.

FRANKENSTEIN - When the creature touches Elizabeth’s gloved hand; delicate, intimate, chaste. A lovely moment.

WEAPONS - That finale: a rip-roaring chase that is as delirious as its result is horrific.

SINNERS - Sammie playing Charlie Patton’s guitar in the car, and Stack’s reaction when he starts to sing. Priceless.

ONE BATTLE AFTER ANOTHER - The moment that made me jump more than any horror film or thriller gotcha was the death of Mae West (Alana Haim). Even on re-watch, BAM. Yikes.

WALTZING WITH BRANDO - Billy Zane accomplishes the year’s best imitation, a visually on-point Marlon Brando.

GOOD BOY - The year’s best animal performance? I was worried sick about that dog.

QUEER - The best film I watched a year too late.

FIGHT OR FLIGHT - The year’s best trash? Say what you want about this derivative, messy, noisy film…but I had a blast from start to finish.

ONE BATTLE AFTER ANOTHER - “Bob?” When the clerk can’t get “Jim Parker” to pay attention. It’s such a flawless moment, no pause, just a line of questioning and then freedom.

THE MASTERMIND - The film with the briefly-met tertiary characters I would have gladly watched an entire film about: John Magaro and Gaby Hoffman’s old acquaintances of Josh O’Connor’s drifting loser were instantly intriguing, and I cared far more about finding out what their deal was than the aimless protagonist.