The Best Movies of 2025: Top 10
Welcome to our 4th annual Hyperreal Film Club community-voted Best Movies of the Year list! Every year, we at HFJ come to you and humbly ask you to vote on your favorite movies of the year. This year’s picks rise from a list of 135 films provided by over 120 voters, wonderfully blurbed by our talented writers. As always, the films you told us you love vary wildly in genre and format, from the very niche DIY to blockbuster franchise hits.
That said, I’ve been calculating these lists since 2022 and I gotta say I have never seen such a large consensus on the number one film. I won’t spoil it, but, damn, y’all really, really liked that one.
PS: Stay tuned for our Honorable Mentions and Editors’ Choice lists!
10. The Mastermind
We’ve all known this guy: he’s charming, wealthy, and ultimately, utterly useless. Writer-director Kelly Reichardt, with her signature style of wry minimalism, leads us through the world of James Blaine Mooney, an amateur art thief and father of two. James, played pitch-perfectly by up-and-coming star Josh O’Connor, never considers the consequences of his actions, because he’s never had any. Set in the early 1970s, with the Vietnam war ever-present in the background, this film is filled with thick, cozy sweaters and an almost comforting fall aesthetic that stands in stark contrast to James’ remoteness and disregard for those around him, especially the women in his life. If you come into this film expecting a typical high-octane heist thriller, you’ll be disappointed. But as a character study, this one shines in its deftness, capturing its hopeless protagonist in quiet, muted moments that are pushed along with the thumping rhythm of its high-wire score. This may be a quiet film, but it’s sure to keep you on the edge of your seat as it paints the portrait of a man who’s not quite a mastermind. – Bailey Bauer
Read Matthew Seidels full review: The Mastermind: Kelly Reichardt’s Nod to New Hollywood Heist Capers
9. It Was Just An Accident
How can one live with the violence of Authoritarianism that is fanatically carried out by one’s own neighbor? Jafar Panahi’s It Was Just An Accident, recipient of the 2025 Palme d’Or, follows Vahid (Vahid Mobasseri), Shiva (Mariam Afshari) and other former Iranian political prisoners as they kidnap and confine Eghbal (Ebrahim Azizi) to a box, as they set out to confirm his identity as their torturer and must decide if they should exact revenge upon him. The film lead by the incredible performances by Mobasseri, Afshari and Azizi, finds balance between the situational comedy the characters find themselves in, with several hilariously absurd laugh-out-loud scenes, and the horrific trauma that permeate from the characters and the world around them, leading to one of the most harrowing final moments in film this past year. Panahi, having filmed in secret, has again been sentenced to prison for critiquing his own home country of Iran. It’s essential viewing as we see the global rise of Authoritarianism and the increased systemic violence many already face; the film asks us can one live a peaceful life with the oppressor or must justice be sought at the potential cost of one’s freedom or our moral code. – Alexis Cabrera
8. Sorry, Baby
Something bad happens to Agnes, in this tender, darkly witty directorial debut by Eva Victor. You might not think that a tragi-comedy about sexual assault would be on the top of your watch list, but after seeing it you’ll see it as the irreverent tribute to survival you didn’t know you needed this year.
Because Sorry, Baby is not so much about the ‘Bad Thing’, kept off-screen, but about how we process and ultimately live with trauma. The storytelling places us at Agnes’ pace, non-linear and at times unreal. We are forced into long silences, short breaths, and to spend time in the physical spaces trauma lives within our bodies. The deadpan humor and dark-comedic timing lift up what would otherwise be, in the hands of other directors, a heavy-handed melodrama. Instead, we are left with a good sandwich and the ability for life to continue even after the unthinkable. In an interview with NPR, Victor said, “I tried to create a film that I feel like I needed.” And by the end of this film, you’ll feel like you always needed it too.” — Anna Warden
Read Alix Mammina’s full review: Sundance ‘25: Sorry, Baby
7. Eddington
I saw Eddington at 2 P.M. at the Galaxy Theater with a friend after we realized that 28 Years Later (pre-Bone Temple) was not going to line up with our respective schedules. It was see the new Ari Aster movie or the Smurfs. We went with Eddington, and my friend has since refused to see a movie with me again.
Yes, it's fair to say that Aster's new study in anxious, messy self-destruction is not for everyone. It's a political satire about COVID-19, performative politics, not-so-performative fascism, technocracy, mommy issues, cults, screens, and so much more. It's about a time in America that many people would love to not think about again, and it's messy and flawed more often than not. But to focus on whether it has "good" politics misses the point, in my opinion. To quote that famous tweet, you're falling for it if you start asking "Is this brand my friend?" Eddington is (in part, since it's a messy, ambitious movie) about the way we treat people up and down the political spectrum, how much our opinions are weaponized by capitalism, how our desires for how to live are wrapped up with our desires for sex and affirmation, and how not even a knife to the skull can stop the endless doom-scrolling. This is our hell whether we built it or not and Aster's boldest move is to offer not a scream of defiance but an asthmatic whining acceptance. – Ziah Grace
Read our Eddington reviews: Hannah Dubbe’s Eddington: Entertaining, Frustrating and Andrew Westin’s Eddington Review: A big bite to chew, but what’s the point with no taste or smell?
6. 28 Years Later
In a year where filmmakers constantly redefined what a 21st century action flick looks like (from PTA’s satirical rebellion to Reichardt’s slow-motion 70s heist), Danny Boyle brought us the most—the most unhinged tonal swings, the most hallucinatory visual stylings, and (of course) the most giant swinging zombie genitalia. I wouldn't accuse 28 Days Later of subtlety but this belated sequel throws all decorum out the window in favor of a coming-of-age nightmare that oscillates between churlish British yuks and truly monstrous images captured via a rig of 20+ iPhones (seemingly by a man possessed). By the time our young protagonist reaches the Bone Temple (also the titular location for the upcoming installment) viewers may feel some combination of emotions including but not limited to: disgust, despair, heartache, disbelief, maybe even laughter, given the macabre absurdity on display. But Boyle and Garland have crafted an incredibly visceral allegory for the creation of art in a 21st Century rocked by so much constant personal tragedy & calamity that the mere act of personal-expression feels ludicrous in the face of it. 28 Years Later tackles that absurdity head-on—and in the process takes viewers on a genuinely unforgettable visual journey. – Andrés Worstell
Read Alix Mammina’s full review: 28 Years Later: A Bold New Chapter
5. Bugonia
With his third release in three years, Yorgos Lanthimos has perfected his recipe for a great film: Emma Stone, Jesse Plemons, black comedy and satire. Bugonia is up-to-par with Lanthimos other recent critically acclaimed work, Kinds of Kindness and Poor Things, if not growing gracefully upon it. Set in rural United States, Bugonia follows conspiracy theorist and Auxolith warehouse employee, Teddy Gatz (Plemons) as he tries to defeat the Andromedans, aliens he believes were sent to Earth to destroy humans. Believing the CEO of Auxolith Michelle Fuller (Stone) is a higher-up Andromeda, Teddy plans to kidnap her and use her as a bargaining tool with the Andromeda mothership. After Teddy’s successful ploy, the audience learns Michelle and Teddy have a deeper relationship than meets the eye and their power dynamic is more complex than first thought.
Bugonia is one of those movies that just sticks with you. The fast-paced and high-stakes film mimics the intensity of an action film with added layers of comedy, satire and darkness only an experienced director like Lanthimos can expertly piece together. Bugonia is one of the most memorable films of the year and is sure to be a top award contender across multiple categories. – Lauren Rosa
Read Lauren’s full review: Lanthimos's Kidnapping Chronicle Strikes a Chord.
4. Weapons
In an age where almost every critically lauded horror movie seems to be an allegory for loss and generational trauma (even 2025’s entry in the famously shallow Final Destination series goes down this path), Weapons does the unthinkable simply by giving us an interesting, fun mystery anchored by a plot structure that keeps you guessing all the way. Writer/Director Zach Cregger, fresh off 2022’s sleeper hit Barbarian, wisely lets the subtext be subtext rather than the point, delivering a refreshing horror experience punctuated by a wildly cathartic climax.
A strong cast helps these characters feel very real in a truly surreal situation, trying to make sense of why every child in one classroom (save for one) suddenly ran away from home at 2:17 AM, but the real MVP award goes to Amy Madigan in a show-stealing turn as Aunt Gladys, an unexpected and joyous performance that in a just world will result in a left-field Oscar nomination. But alas, I’ve said too much already. If you haven’t seen Weapons yet, you owe it to yourself to go in as blind as possible and just let the insanity wash over you, one chapter after another. – Jackie Stargrove
Read Alix Mammina’s review: Weapons Review: Empty Signals
3. Sentimental Value
They should put a disclaimer at the beginning for those of us with daddy issues.
Sentimental Value sees Joachim Trier at the height of his storytelling powers and follows auteur filmmaker Gustav Borg (played by Stellan Skarsgård) as he offers his eldest daughter, Nora (played by Renate Reinsve), the leading role in his latest film. When Nora declines, he casts American actress Rachel Kemp instead (played by Elle Fanning).
To make up for a lifetime of neglect, Gustav’s script is his olive branch to Nora. The chasm between the two is mirrored by the barriers Rachel faces as she tries to embrace a role clearly not written for her. In addition, Nora’s relationship with her sister Agnes (played by Inga Ibsdotter Lilleaas) is impacted as Nora cannot understand how, despite having the same deadbeat dad, Agnes fared better than her. These characters offer a visceral portrait of the ways in which our ability to communicate our feelings is often inhibited by our own abilities to express them.
Featuring standout performances across the board, Sentimental Value is the movie I have been waiting for all of 2025: a funny, emotional, and profound picture that showcases the healing powers of filmmaking. – Connie Pogas
Read Alix Mammina’s full review: TIFF '25: Sentimental Value
2. Sinners
Every new release from Ryan Coogler should be considered an international holiday. The buzz surrounding them mirrors that of major auteurs with the central question: is this going to be the one that flops. Well, the guy is five for five and each new movie is a new reason to consider him one of the greatest filmmakers of the past century.
Sinners is a huge blank check film. It had audiences wondering if he could take an original idea and deliver with the same ferocity that he had with the Marvel machine backing him. Sinners not only proved that he could walk the walk but also talk the talk, garnering support from the likes of Tom Cruise and Nolan hailing him as the next pioneer of IMAX filmmaking. It’s a huge swing, blending comedy, horror, drama and musicals all into one film. What could have been a crowded mess was one of the most exciting films of the year, with stellar performances across the board, a score that doesn’t miss and some of the most inspired visuals to grace the silver screen this year. If you haven’t seen Sinners, I don’t know what you’re doing but I urge you to fix that sooner rather than later. – Blake Williams
Read Akshaj Turebylu’s analysis: Albert Murray as Key and Corrective to Sinners (2025)
1. One Battle After Another
Congratulations to the “lunatics, haters and punk trash” for voting a movie that is equal parts political thriller, stoner comedy and family drama to be in Hyperreal’s Top 10 Movies of the Year list. Much will be written about, and many awards given to, the lead and supporting performances of One Battle After Another. They’ll have earned it, but who I want to applaud here is our neighbors in El Paso.
Billygoat’s arrest and the Bob-on-the-run rooftop sequences show off the city’s unique beauty on glorious VistaVision. Local location scouts and businesses provided never-before-seen setpieces, and featured extras add authenticity to our players’ movement through Baktan Cross.
Paul Thomas Anderson allowed location and actors to guide the narrative. Once in El Paso working on his backstory, Benicio Del Toro added the “Latino Harriet Tubman situation.” Using the real Sacred Heart sanctuary and a network of skaters and nurses, Sensei Sergio shows off the importance of coalition building and communal trust.
That same level of community, found both behind the camera and on the screen, is what I hope we’re building when we sit together at 301 Chicon Street. Courage, Bob. –Robert Rodriguez