David Corenswet as Kal-El/Superman in a scene from "Superman." (Photo courtesy of Warner Bros. Pictures)
It happened a little earlier than expected, and it took the wind out of my sails.
Of all the goodbyes South Florida moviegoers had to say in 2025, and they were plentiful, losing Regal South Beach 18 at the end of September is the one that shook this critic to his bones. Sure, it wasn't nearly as earthshaking as the death of David Lynch back in January, but the vastness of the cultural void this closure has created reverberates in ways that are only now beginning to be felt in full.
The last films I caught there? A double matinee: the tender period romance “The History of Sound,” awash in Merchant Ivory vibes, followed, after I'd wiped away my tears, by a late afternoon showing of the all too appropriately titled “Downton Abbey: The Grand Finale.” Days later, the multiplex shut its glass doors for good. The good memories, such as me introducing sold-out festival premieres years before OUTshine became OUTshine, far outweigh the bad. (We won't miss that fire alarm.)
The third “Downton Abbey” movie, a decent enough franchise capper far removed from the addictive PBS series at its height, proved to be all too emblematic of a lackluster movie year during which too many friends and colleagues went to bat, again and again, for second-best fare. Some have called it the best movie year in quite some time, in terms of quality (not the industry, which remains in a corporate-driven tailspin), but you won't hear such praise here.
An underwhelming winter and spring saw few bright spots, such as “Black Bag,” Steven Soderbergh's silky smooth spy yarn, but what truly ruined 2025 was the one of the weakest, most dispiriting summers in my lifetime. Tom Cruise's ostensible swan song as Ethan Hunt landed with a thud. Liam Neeson stepped into Frank Drebin's crime-fighting shoes with precious few laughs to show for it.
But they all pale next to what James Gunn did with the Man of Steel. Fanboys salivated, but this former DC Comics collector sat in astonishment at the casual cruelty on display throughout “Superman,” a viciousness that not only turned Kal-El into Gunn's personal punching bag but extended to some of the other good guys, to the point that, if you were a parent, you might have had to explain the concept of Russian roulette to your kids. Repugnant.
Amy Madigan as Gladys in a scene from "Weapons." (Photo courtesy of Warner Bros. Pictures)
August brought the runaway success of “Weapons,” the latest from schlock purveyor Zach Cregger. Bloodthirsty audiences lapped up the lurid tale of a suburban community reeling in the wake of the disappearance of a classroom's worth of their children, but two movies in, Cregger strikes me as a hack who serves up intriguing story hooks, only for his narratives to dissolve into lowest-common-denominator mayhem. This time, the chills came with an extra helping of sadism. The film inflicts an inordinate portion of its brutality on a (rather broadly drawn) gay couple. Fans defended the move as egalitarian, but from where I was sitting, the optics did not look good.
No movie year could recuperate from such a dismal summer, but the fall offered some improvement, albeit one saddled with the typical year-end glut comprised of many awards-season hopefuls that simply did not live up to the hype. Of this year's big Cannes Film Festival winners, only one, Brazil's “The Secret Agent,” a big winner at Sunday night's Golden Globe Awards, actually delivered on its promise.
The superlatives generated by pull-quote magnets released or about to be released in theaters left me scratching my head. “Sentimental Value”? “I'm not your therapist, Joachim Trier,” I scribbled on my notebook. “Train Dreams”? Self-righteous Terrence Malick cosplay that strains to capture its pretty vistas. “Sirt?” Arid calamity porn with a techno beat. “Marty Supreme”? Will you stop being such film bros, critics who champion Josh Safdie's overlong and repetitive slab of bro cinema? Enough, bros. “Uncut Gems” this ain't.
Rami Malek as Douglas Kelley and Russell Crowe as Hermann Goring in a scene from "Nuremberg." (Courtesy of Sony Pictures Classics)
The final months of 2025 also included the release of the very worst major title to make it to theaters that year. The stillborn historical drama “Nuremberg” reduces a pivotal moment in the world's reckoning with the Nazi Party's atrocities to what amounts to a two-and-a-half-hour episode of “Drunk History” played straight. Playing Hermann Göring, Russell Crowe still knows how to chew the scenery with gusto, but this turkey has all the sophistication of a hastily assembled high school book report. The absolute pits, so of course, it landed a spot on the BAFTAS' Best Picture longlist.
Even more dire than this litany of high-profile disappointments is a shift I detected in how some of the public relations folks who act as liaisons between the distributors and critics deal with a movie's release. In the more than 15 years that I've been reviewing movies professionally on a regular basis, it's never been so difficult to track down smaller releases for review purposes.
Take, for instance, one fall release that will go unnamed, though there weren't that many big-screen adaptations of Broadway hits in 2025, were there? Following dead end after dead end in my requests for a screening link, I got tired of being given the runaround and simply went to see it after it opened in theaters. That I had a good time served as scant consolation for the wild goose chase that preceded this pleasant matinee outing.
Ah, the moviegoing experience. For years, I dismissed some of my colleagues' warnings about its future as alarmist hyperbole. But the year that has just ended was the first time where I truly felt a threat to the long-term prospects of simply being able to go see a movie in a darkened auditorium. Okay, so 2025 doesn't exactly make a compelling case for those of you still reticent about returning to theaters, but I'm about to make a simple request: make an effort. Yes, the prices are exorbitant enough to be prohibitive, and quite a few people's viewing etiquette leaves a lot to be desired, but take that step and integrate it back in your schedules all the same. Because if this ornery critic can still hold on to some optimism about the future of the moving image, all hope is not lost. Come back. You've been missed.
Before I reveal my ten favorite movies of 2025, there's a few things to go over. TV in general proved more satisfying than theatrical releases this past year, but that doesn't mean I'm going to make an exception and put the sensational HBO documentary “Pee-wee as Himself” on the list, since the Sundance Film Festival selection is a two-part nonfiction portrait of the iconic entertainer that feels tailor-made for the small screen. Still, you should most definitely catch it.
Harry Melling as Colin and Alexander Skarsgard as Ray in a scene from "Pillion." (Photo courtesy of A24)
Dark Star Pictures released “The Astronaut Lovers,” Argentinian filmmaker Marco Berger's sparkling rom-com, for digital rental in early 2025. It was one of the best films I saw in 2024, and since I included it in last year's top ten, you won't see it here (no double dipping), but you do need to seek it out, as I aggressively remind my friends, who may or may not be aware that I won't stop pestering them until they do. A bittersweet queer romance, the U.K. charmer “Pillion,” just missed my '25 list (it would have come in at #11). A24, its U.S. distributor, is aiming for a February release, and all I can say is you're in for a treat.
If there's anything one could glean from the following films, is that you should never judge a book by its cover (count 'em, two sequels!), but sometimes that cover looks pretty darn awesome.
Nick Wilde (voiced by Jason Bateman) and Judy Hopps (voiced by Ginnifer Goodwin) in a scene from "Zootopia 2." (Photo courtesy of Disney)
10. “Zootopia 2”: The trailers suggested a shameless cashgrab, but the further adventures of Zootopia's finest, by-the-book rookie officer Judy Hopps (the voice of Ginnifer Goodwin) and the crafty Nick Wilde (Jason Bateman) are goofier, weirder, more nimbly paced than in Disney Studios' perfectly fine predecessor. It's not just brand recognition that has made this a global monster hit. Solid work from new-to-the-franchise Ke Huy Quan, Fortune Feimster and Andy Samberg makes this winsome animated sequel go down easy. The only reason it's not higher here is directors Jared Bush and Byron Howard's insistence on sticking with the hidden villain reveal, a trope that already felt stale the first time around. (Now playing in theaters in wide release. A streaming release date on Disney+ has yet to be announced.)
A chair, a downed telephone and debris along the shoreline after a hurricane in the documentary "River of Grass." (Photo courtesy of Sasha Wortzel and Walking Productions)
9. “River of Grass”: A stroll down memory lane of a childhood lived in the Sunshine State meets a rallying cry for ecological awareness. Documentarian Sasha Wortzel's poetic ode to the Everglades is also an absorbing portrait of environmentalist Marjory Stoneman Douglas, distilling her seminal 1947 book about the state's ecosystem through a beguiling personal lens. If you love what Florida once was and what it could be again under more enlightened circumstances, seek out this vivid cine-essay/eco-doc fusion, one of three selections from the 42nd Miami Film Festival on this list. (No streaming or digital rental dates have been announced as of this writing.)
Jacob Roberts as Ben and David Treviño as Jordan in a scene from "Rent Free." (Photo courtesy of Cinephobia Releasing.)
8. “Rent Free”: Films about close friendships run the risk of feeling manufactured. The rapport might come across as too scripted, the relationship's ebb and flow too deliberate. Fernando Andrés' sophomore feature doesn't fall into that trap. It etches a lived-in portrait of two Austin-based besties, marvelously played by Jacob Roberts and David Treviño, who come up with a patently unsustainable couch-surfing scheme in order to save up for a planned move to New York City. A tumultuous, sharply observed test of their fierce bond ensues, one that doubles as a survey of Austin society's totem pole. (Available to stream for free on Tubi, and for digital rental for as low as $2.99 on Apple TV, Fandango at Home and other platforms.)
Wagner Moura as Armando Solimoes/MarceloAlves in a scene from "The Secret Agent." (Photo courtesy of NEON)
7. “The Secret Agent”: The film distributor NEON made headlines this past spring when they acquired most of the big jury winners at the 2025 Cannes Film Festival. Of their high-profile acquisitions, this sprawling period piece, a slow burn that pays off, is the one that lives up to the deafening hype. Yes, the NEON folks are mismarketing this Miami Film Festival GEMS selection as a taut political thriller, which, all due respect, it is not. But don't fret, because what writer-director Kleber Mendonça Filho serves up instead is far richer than your basic potboile. The filmmaker couches the persecuted protagonist's paranoia in a multi-faceted portrayal of the underground community that serves as a temporary haven, until nefarious forces intervene, reflecting the turmoil in this dark chapter in Brazil's history. I've been following this gifted director's career since “Neighboring Sounds” showed at the Miami Beach Cinematheque. How gratifying to witness how he continues to grow as a visual storyteller. Wagner Moura, who picked up a Golden Globe Award for his mesmerizing turn, anchors a terrific ensemble cast like the supernova he is. (Now showing at CMX Brickell City Centre, CMX Dolphin 19 and AMC Pompano Beach 18. It will be available for digital rental starting Jan. 26.)
Renee Zellweger as Bridget Jones and Leo Woodall as Roxster in a scene from "Bridget Jones: Mad About the Boy." (Photo courtesy of Universal Pictures)
6. “Bridget Jones: Mad About the Boy”: What if you had the chance to reprise your most famous role and find additional layers? Renée Zellweger seizes this opportunity and runs with it, in the fourth and best entry in the tales of a gaffe-prone London TV producer, now widowed and in her 50s, as she navigates dating and motherhood without her beloved Mark Darcy by her side. Director Michael Morris, working from a wise and touching screenplay co-written by “Bridget Jones's Diary” author Helen Fielding, could have settled with going the tried-and-true rom-com route, but they suffuse this moving dramedy with a sweet melancholy. Universal Pictures released this sweetheart of a movie in theaters overseas but sent it straight to Peacock on this side of the Atlantic. That's a real shame. (Now streaming on Peacock and available for digital rental on Apple TV, Fandango at Home, Google TV and other platforms.)
David Strathairn as Bill and Jane Levy as Tammy in a scene from "A Little Prayer." (Photo courtesy of Music Box Films)
5. “A Little Prayer”: The ties that bind and constrict fascinate Angus MacLachlan, who concocted a memorable Southern family in his screenplay for “Junebug,” the indie comedy that helped put Amy Adams on the map two decades ago. MacLachlan's latest family feud, this time with him in the director's chair, is a considerably more serious affair that starts out deceptively mild, then proceeds to punch you in the gut. A beautifully understated David Strathairn stars as a North Carolina patriarch who sees his dysfunctional clan come apart at the seams after his daughter (Anna Camp) and granddaughter (Billie Roy) move back home, and he realizes his handsome, well-liked son (Will Pullen), a military veteran like his dad, is hardly the devoted husband that his stalwart daughter-in-law (Jane Levy) deserves. Dascha Polanco and an ideally cast Celia Weston round out a tip-top cast in this unsung gem, shot back in 2022, that took way too long to make it to theaters and flew under the radar when it finally did. (Available for digital rental on Amazon Prime Video, Apple TV, Fandango at Home, Google TV, YouTube and other platforms.)
Hugh Jackman as Mike Sardina, aka "Lightning," and Kate Hudson as Claire Sardina, aka "Thunder," in a scene from "Song Sung Blue." (Photo courtesy of Focus Features)
4. “Song Sung Blue”: The most memorable showbiz stories sometimes unfold on the margins, something Greg Kohs discovered in his 2008 documentary about the Neil Diamond tribute band Lightning & Thunder, headlined by the husband-and-wife team of Claire and Mike Sardina. Leave it to Craig Brewer, who directed the musically inclined “Hustle & Flow” and the egregiously underappreciated “Black Snake Moan,” to turn this true story of dreams dashed and realized into a deeply moving biopic filled with showmanship that was sorely lacking in 2025 movies. As Mike, aka “Lightning,” and Claire, aka “Thunder,” Hugh Jackman and Kate Hudson deliver their best performances in ages. (It's the best Jackman has been since “Prisoners,” and Hudson hasn't been this magnetic since “Almost Famous.”) Brewer trusts viewers enough to throw down the hammer with a deftly executed tonal shift at the halfway point that never loses sight of the film's disarming generosity of spirit. Simply divine. (Now showing in theaters in wide release, including at AMC Aventura 24, AMC Sunset Place 24, Cinépolis Luxury Cinemas Coconut Grove and Regal Dania Pointe.)
Josh O'Connor as Dusty in a scene from "Rebuilding." (Photo courtesy of Bleecker Street.)
3. “Rebuilding”: At first glance, it might appear to be a feature-length after-school special, the kind of eat-your-veggies Amerindie that high school teachers might assign their students for extra credit. But writer-director Max Walker-Silverman and a committed cast spearheaded by Josh O'Connor transcend those earnest trappings, imbuing this soulful tale of despair and renewal in the heartland with a depth of feeling that puts the characters before the issues they face after a wildfire razes their homes and causes them to end up in FEMA trailers.
As a divorced dad reeling from the loss of his ranch, O'Connor taps into an everyman quality removed from the three other performances seen from him in 2025. (What a year he's had.) He's matched at every turn by Meghann Fahy, Lily LaTorre and Amy Madigan as his caring ex-wife, daughter and former mother-in-law. They've made a neo-Western with striking Colorado vistas and nothing but love to give. (Available for digital rental on various platforms starting Tuesday, Jan. 13.)
Crista Alfaiate as Molly and Lang Khe Tran as Ngoc in a scene from "Grand Tour." (Photo courtesy of MUBI.)
2. “Grand Tour”: Portuguese auteur Miguel Gomes avoids the conventional in his work with a determination bordering on obsession, and so, when it came time, to tell the story of an Englishman (Gonçalo Waddington) fleeing from his stubbornly dogged fiancée (the luminous Crista Alfaiate) across East Asia in the late 1910s, the filmmaker, who walked away with Best Director honors at last year's Cannes Film Festival, opted against going the costume-drama route, blending present-day glimpses of Thailand, China, Japan, Vietnam and other countries with the scenes set in the early 20th century.
The result is a transporting travelogue that grapples with exoticism, how the West fetishizes Eastern cultures, but never strays from a playful streak filled with laughs and informed by the impermanence of existence. Truly one of a kind. (Now streaming on MUBI and available for digital rental on Apple TV, Fandango at Home and other platforms.)
Leonardo DiCaprio as Bob Ferguson and Benicio del Toro as Sensei Sergio St. Carlos in a scene from "One Battle After Another." (Photo courtesy of Warner Bros. Pictures)
1. “One Battle After Another”: Constructive criticism from a colleague came my way after my review of Paul Thomas Anderson's riveting revolutionaries-in-turmoil epic was published. The writer in question took issue with the way I leaned on overused phrases, like “five-course meal,” “powder keg” and “all that and a bag of chips.” To which I say, guilty as charged. Sleep deprivation may have had something to do with the overreliance on these oft-used expressions, but I can't promise they will be retired, especially when describing something as electrifying as what the “Boogie Nights” and “Phantom Thread” auteur has pulled off here.
Teyana Taylor as Perfidia Beverly Hills and Leonardo DiCaprio as Bob Ferguson in a scene from "One Battle After Another." (Photo courtesy of Warner Bros. Pictures)
Ignore the naysayers who say this epic adventure, loosely adapted from a portion of Thomas Pynchon's “Vineland,” is long and drawn out. The story of an explosives expert (Leonardo DiCaprio), a spirited revolutionary who becomes his significant other (Teyana Taylor), their resilient teenage daughter (Chase Infiniti), her martial arts instructor (Benicio del Toro) and a racist Army colonel (Sean Penn) moves like a bullet.
There are shades of Kubrick, Tarantino and blaxploitation here, but this this is predominantly a fusion between the caffeinated verve of PTA's earlier work and the more mellow flow of his more recent output.
To borrow another overused phrase, this here is a wealth of riches, wholly deserving of its awards-season traction (and Golden Globe wins on Sunday), as well as a reprieve from the onslaught of mediocrity that assaulted the senses over the past twelve months. (Now streaming on HBO Max and available for digital rental on Apple TV, Fandango at Home, Google TV and other platforms.)
Annalise Basso as Janice Holliday and Tom Hiddleson as Charles "Chuck" Krantz in a scene from "The Life of Chuck." (Photo courtesy of NEON.)
And let's hear it for the next ten movies, most of which are now available to watch at home, listed in alphabetical order: “Eephus,” “Highest 2 Lowest,” “The Life of Chuck,” “The Long Walk,” “The Mastermind,” “Merrily We Roll Along,” “Pillion,” “Roofman,” “Sabbath Queen” and “Sunfish (& Other Stories on Green Lake).”
Charlie Plummer as Gary Barkovitch , Garrett Wareing as Stebbins, Cooper Hoffman as Raymond Garraty, David Jonsson as Peter McVries, Ben Wang as Hank Olson, Tut Nyuot as Arthur Baker and Joshua Odjick as Collie Parker in a scene from "The Long Walk." (Photo by Murray Close, courtesy of Lionsgate)
Here's hoping the movies that come out in 2026 make us forget about the many lousy ones that came out in 2025. And lo and behold, a potential ray of hope shines upon us.
In the midst of writing this year-end wrap-up, news came out that the City of Miami has handed Little Havana's Tower Theater back to Miami Dade College. It will be interesting to see what happens next, and at least for a fleeting moment, the future looks a teeny bit brighter. Watch this space.
