Weapons

Zach Cregger’s Weapons had such a mysterious aura heading into its release that you couldn’t help but wonder if it was going to live up to the hype – especially after Barbarian was such an unexpected breakout. Against all odds, Weapons is a total banger that cements Cregger as one of the most fascinating, creative minds working currently. The film centers on a small-town where several children vanish in the night causing ripples within the lives of many people that lead them towards horrifying conclusions. Man, Cregger cooks up such a great mystery with Weapons that keeps you itching for answers. It’s amazing to see the effect these sudden disappearances have on these characters, ranging from a teacher who’s suspected of something sinister to a father desperate for answers, and the storytelling is on a whole other level. The use of shifting perspectives and non-linear storytelling has such a compelling pull on you and always manages to make you fall deeper down the rabbit hole. Each person pushes the story forward in unexpected ways, Cregger splices in some unsettling suspense and stomach-turning brutality to keep you on edge. Throughout, you’re totally wrapped in the suspense and mystery that Cregger concocts, and it’s wild how he doesn’t let viewers down when it finally comes time to deliver the root of all the evil. 

Weapons easily has one of the best final acts of the year with how it characterizes its surprise central villain and dives into the supernatural lore it evokes. Amy Madigan provides one of the creepiest and captivating performances of the year as Aunt Gladys with a daunting screen presence and chill-inducing delivery that defines the entire experience. It’s such a distinct performance that leaves lashes on viewers because of its relentlessness and acts as the perfect vessel for Cregger’s vision for horror to spew out. Within an ensemble of memorable performances, especially from Julia Garner and Josh Brolin, Madigan rises above them all and should be a strong contender for awards. Plus, her presence is elevated by the great world-building and characterization surrounding her character. This vicious sense of control she has is wildly powerful, leading to some fear-inducing actions to stay in charge of things, and it adds further intrigue for viewers that’s irresistible. Best of all, it leads to a final stretch that, dare I say, is perfect. No, literally, it can’t get any better. From the tension-fueled fights for survival that occur to the crazy and hilarious escape that ensues, Cregger cements a style for himself that never ceases to amaze and ends the film on a remarkable high.

Weapons is a surprise masterpiece that showcases Cregger as a new master of horror everyone should keep their eyes on. It’s got a juicy mystery that’ll have viewers completely hooked and is further boosted by an unforgettable performance from Amy Madigan as the already legendary Aunt Gladys. Cregger’s ambition truly needs to be seen to be believed and no one will leave unsatisfied by the incredible craftsmanship, storytelling, and horror prowess on display with Weapons.

Bugonia

Director Yorgos Lanthimos and Emma Stone have been an incredible pair with the bizarre comedy they provide, and their latest collaboration, Bugonia, ranks among their best. Oddly enough, Lanthimos delivers one of his more “serious,” definitely darkest films here as it takes viewers into a growing conflict after high-powered CEO Michelle (Stone) is captured by conspiracists Teddy (Jesse Plemons) and Don (Aidan Delbis) who believe she’s an alien. At first, things start out in typical fashion for Lanthimos – weird and silly with dashes of crude humor. You feel comforted by the strange beliefs and questions being spewed by Teddy and the hilarious bewilderment from Michelle. It’s right at home with Lanthimos’ style of humor and the intense strife between Michelle and Teddy leads to a lot of hilarious bouts. Yet, Lanthimos’ direction takes dark turns this time around, and it’s crazy how Bugonia is as nerve-racking as it is funny. The lengths Teddy is willing to go to prove his theory on Michelle is legitimately frightening and it’s wild how Lantimos isn’t afraid to dive into straight-up horror. 

It’s where Bugonia shows a more serious, daunting side to Lantimos that’s honestly very welcomed. Even with the comedic aspects of his direction never totally leaving the experience, Bugonia shifts hard into dark territory eventually – resulting in a third act full of crazy twists and turns. Seriously, Lanthimos and writer Will Tracy really go for it with Bugonia’s last act and you’re constantly picking your jaw off the floor. Michelle turns the table on Teddy in vicious ways that result in some unexpected, and gruesome bloodshed as well as some breathtaking manipulating that leads to Teddy making a devastating choice. Some of the discoveries Michelle makes about Teddy are absolutely shocking and show him as far from innocent. And, the tension between Michelle and Teddy gets some amazing depth that’s further elevated by Stone and Plemons’ award-worthy work. These two just totally nail the shifting tones Lanthimos puts them through, especially Stone, and give the film’s themes surrounding conspiracy a compelling pull. Now, the ending is a bit of a sore spot since it aims for shock value, which weakens the film’s thematic power and muddies up its depiction of the danger of modern conspiracy. However, it never overshadows the greatness that came before it and you leave Bugonia in awe of all the incredible storytelling, performing, and surprises you experience. 

Bugonia is another triumphant effort from Lanthimos and Stone that solidifies them as one of the most thriving actor/director duos in the industry. It offers an amazing blend of genres that elicit a wide range of emotion, and deliver strong twists and tonal shifts that keep you hooked on the juicy tension unfolding between Stone and Plemons. It’s a film that truly leaves on-edge from start to finish, and with Lanthimos’ vision fueling it, Bugonia is truly one-of-a-kind.

Sinners

Ryan Coogler, the visionary director behind Black Panther and Creed, rises to new heights with a highly entertaining and visually captivating horror epic in Sinners. Within the framework of twin criminal brothers Smoke and Stack (Michael B. Jordan) returning to their hometown during the Jim Crow South, Coogler manages to widen the scale and scope of this fresh-feeling world. The way he acknowledges and continually fleshes out the relationships and history between these characters, ranging from romantic tensions to past grudges, is immaculate and instantly puts hooks in you. The crime personas of Smoke and Stack coming to a head with not only locals but even each other creates an irresistible tension that lasts. For Coogler, world-building isn’t just about creating storythreads, arcs, or intriguing dialogue, it’s about creating lore full of real depth that makes you want to explore and experience this world to the fullest. It’s what sets him apart from most filmmakers out there, and his ability to sew history into every aspect is legitimately impressive. From the reality of these characters living in an incredibly racist era of the South to the connections to Irish colonial suffering through its vampiric antagonist, it’s incredible to see how historic oppression is touched on and harnesses a supernatural power within this story. Coogler elevates things further with how music plays a role, including a sure-to-be iconic scene that pulls together eras of history and culture that legitimately leaves you in awe, and it’s why Sinners is a true technical masterpiece. 

If that’s not enough, Coogler makes Sinners a genuine crowd-pleaser with the horror he provides and the way he utilizes vampire mythos. It’s incredibly fun to see classic rules surrounding the creatures be in play, and Coogler builds an incredibly creepy atmosphere with chills that can’t be shaken. Not to mention, its central foe Remmick (Jack O’Connell) is highly memorable for O’Connell’s entrancing performance and the great scares he brings. Now, there are some clunky transitions when the film tries to touch on “vampires” directly, and we barrel into the third act with a kill frenzy turn that keeps some arcs from being wholly satisfying. But there’s no denying that Coogler (finally) makes vampires scary again and isn’t afraid to let the blood spill out for a climax that’s absolutely jaw-dropping. Whether it’s the way this night from hell ends on an intense and wildly unsettling note to the fulfilling way Smoke put power in his own hands, it’s a real stunner of a finale. It’s all boosted by Jordan in top form and a one-of-a-kind breakout performance from Miles Caton. Plus, those final scenes that stretch the story further into the present symbolize the incredible vision Coogler has and highlight the depth he effortlessly creates. 

Sinners is a revolutionary effort from Coogler that shows potential to be a true great of the medium. His ability to blend history, horror, and compelling worldbuilding while commanding a widely talented ensemble with confidence is sheerly unmatched. It’s an easy choice when sorting through the best films of 2025 and it’s a perfect example of how a visionary like Coogler can elevate a seemingly tired sub-genre with fresh ideas and stunning execution.

Marty Supreme

Although director Josh Safdie flies solo for Marty Supreme, he delivers an incredibly fun, intense, and captivating epic that sees Timothee Chalamet reach new heights. The film sees Chalamet play Marty Mauser, a young American ping pong player who’s desperately scouring for resources to play in big overseas tournaments to earn his self-believed right to be seen as the best in the world. With Marty Supreme, Safdie brings that signature approach for anxiety-riddled thrills that made Uncut Gems an absolute nerve-shredder. Although Marty has legitimate skill in the sport and is more than capable of competing on the world stage, his desperation constantly puts him in dangerous spots. His hustling schemes blow up in his face. He’s constantly making promises he doesn’t keep. And, he often uses those closest to him as tools in his plans. In short, Marty is his own worst enemy and some of the situations he puts himself in will make you sick with uneasiness. Seriously, when things fall apart for Marty, it’s in spectacular, gut-punching fashion. And, once things go too far and Marty’s self-respect is at an all-time low, you’re left stunned by how his ego is brutally beaten. 

Yet, even for Marty being a fairly grimy character, Chalamet makes him wildly entertaining, oddly endearing, and somewhat relatable. He embodies that yearning for greatness most people, especially athletes share, and never flinches with doubt at anything that comes his way. Even when he’s spewing some fast-talking nonsense or says something mean to just get his way, it’s hard not to care for him. You respect his efforts and skill, and there’s a distinct charm Chalamet taps into to make Marty a captivating force. It’s an absolute stunner of a performance that deserves all the awards it can gain and further proves that Chalamet is simply one of the best actors out there – continually pushing towards that all-time great category he’s determined to obtain. It helps too that he’s surrounded by an incredible supporting cast of talent, like Odessa A’zion, Kevin O’Leary, Tyler Okonma, and Gwenyth Paltrow, who work within Safdie’s vision flawlessly. At its core, Marty Supreme is that perfect type of sports drama that fits Safdie’s style well, and taps into that universal desire for personal victory that culminates in a nail-biter ending filled with high emotion and tearful conclusions. 

Marty Supreme is another must-watch from Josh Safdie that embodies the best of what sports-dramas do and showcases Chalamet as an all-time best. It brings a wide range of emotion out of viewers through the sheer desperation of its lead character and the undeniable heart of his ambitions – ultimately making you laugh, cry, and shudder with his every move. Marty Supreme is a top film of 2025, and is the perfect film to give Chalamet the Oscar-glory he’s been on the cusp of for so long.