With every new year comes another opportunity to resent those who just happen to live in cities that are privy to press screenings, or any screening for that matter, but I digress. In addition to working as an editor for this website, it has been a particularly difficult year for yours truly so that sometimes meant not getting to certain films at the same time as others, but in spite of those circumstances, they get seen one way or another. The site is called Keith Loves Movies for a reason after all. I do my best to stay in the loop (I encourage anyone to follow me on Letterboxd here) when it comes to all things movies and television. That being said, enough about me. What better way to finish a year with an arbitrary ranking post, listing the best and worst movies over that calendar year, a time honored tradition among cinephiles looking to see how they match up against others. Nowadays, as people have become increasingly combative with opinions, for better or worse, this exercise isn’t quite what it used to be. There will be agreements. There will be disagreements. That is just a fact of life.
This year offered audiences a bit of everything, from the long-anticipated release of a TIFF 2024 People’s Choice Award winner, to a pair of groundbreaking horror films, an indie darling, and a wide range of films that hit audiences with all the feels, and taking them to the edge of discomfort. While some have been big players over this awards season, that fact is not a be-all end-all as awards and/or nominations don’t necessarily make one film better or worse than another. On the other side of things, one of the highest grossing films of 2025 (a film that should not be named), and one responsible for starting the most obnoxious viral trends of the year, makes an appearance, as does a remake of a 1990s classic, and the lesser of this year’s dual performance films. Once again, it is time to rejoin the fray and discourse with my list of the top 10 and bottom 10 films of 2025. Let the arguing begin!
Top 10 Films of 2025:
Honorable Mentions: Rental Family, Materialists, Thunderbolts*
10. If I Had Legs I’d Kick You
On paper, the title does jump off the page, for better or worse. You don’t see those come around that often but however unusual it may be, the film is here for a reason. While If I Had Legs I’d Kick You is a lot of things, the one that stands out the most is how uncomfortable it makes audiences, leaving them on edge throughout. That being said, it is for very good reason. Star Rose Byrne has earned near universal acclaim and is one of the Oscar frontrunners for her performance as Linda, a basically single mother push to the brink of a nervous breakdown by the undue pressure women face in today’s day and age. Expected to hold it together, with little to no support system herself, the pain was very real as audiences feel the walls of those expectations slowly close in on Linda. Over the course of the film, she descends further and further into a kind of madness as the film continues to warp her perspective in inventive ways. Feeling as uncomfortable and as on edge as Linda, the film remains engaging to watch thanks to Byrne’s powerhouse performance. She proves to be more than game for all the twists and turns that help put her range to the test, while carrying the whole thing on her very capable shoulders. In the face of seemingly insurmountable odds that were stacked against Linda, consumed by stress, she would not accept defeat. Though a tough journey to go on, writer-director Mary Bronstein’s vision make it one worth taking (but maybe not again after that). Casting Conan O’Brien who delivers in a prominent role as Linda’s therapist also doesn’t hurt.
9. Frankenstein
Frankenstein and writer-director Guillermo del Toro always seemed like the perfect match on paper and in the aptly-titled Frankenstein, de Toro proves it. Here, the director imbues every frame with his signature style, as the film leans on the story’s gothic roots to beautiful effect. Not his first foray into the gothic horror space, he aims for a more faithful adaptation of Mary Shelley’s original novel. Following Victor Frankenstein (Oscar Isaac), and his ambitious experiment of bringing a creature (Jacob Elordi) to life, the narrative is split into two contrasting perspectives. Giving it a grander sense of scale and weight, compared to the countless adaptations, great below-the-line work, from production and costume design, to the magnificent score and beautiful cinematography, breathe new life into the classic story and work together to help bring del Toro’s incredible vision to life. Isaac and Elordi deliver fantastic performances that fit perfectly in that world. The former shines as the doctor, capturing his arrogance and ambition in playing God. Determined to prove the others who have dismissed him wrong, the film paints a full picture of Victor, from his devastating upbringing, to his inevitable decent into madness of wanting to play God before transitioning into regret and/or remorse for his creation. Meanwhile, Elordi has never been better as said Creature, given a compelling arc mirroring that of the human experience. Leaning how to survive, what it truly means to be human, and about the resentment they have for their creators, he fully commits to the character physically and emotionally. Using his height to his advantage, Elordi gives the Creature such an imposing presence, while his emotional range allows for his humanity to seep through. For any doubters about his acting ability, his performance should put that doubt to rest. Going back to the technical side for a second, the makeup and prosthetic work done to bring the Creature to life deserve a little extra commendation and, alongside Elordi’s performance, makes for moments that will be hard to forget.
8. Train Dreams
Speaking of moments that will be hard to forget, Train Dreams is a much different vibe, but it also delivers. Based on a novella by Denis Johnson, this contemplative character study largely lets its imagery do the talking. For a film about living in the moment and embracing the world around us, beautiful cinematography, along with a captivating score, accentuate a compelling rumination about the meaning of life from the perspective of Robert Grainier (Joel Edgerton), a logger and railroad worker who leads a life of unexpected depth and beauty in a rapidly-changing early 20th Century America. More often than not, the film is almost dream-like as the film absolutely thrives across those quiet contemplative moments, ones where Grainer interacts with those around him, or simply whenever he takes a moment to slow down and experience the beauty of nature and contemplates his life and his place in the world. A man shaped by his experiences, his arc would mirror that of the country. That beauty, however, does not exist without hardship, as the hardships of life challenged Grainer to his very core. A story about a life well lived, strong narration from Will Patton helped fill the gaps and audiences makes sense of what was happening. Above all else, the film does not work at all if nor for Edgerton. Serving as its emotional center, his masterful understated performance invites audiences to go on that journey with Grainer. His effortless charm and likeability make for an engaging everyman that just fits in this world. A short, but scene-stealing performance by William H Macy, as a man Grainer meets along the way, will also make a big impression.
7. Sorry, Baby
The feature written and directorial debut of Eva Victor, Sorry, Baby has been the year’s indie darling. Premiering at last year’s Sundance Film Festival to wide acclaim, this charming dramedy has such an endearing personality and is also very funny, while touching on some pretty serious subject matter. Balancing it all with a deft hand writing the script or from behind the camera, Victor just knows what buttons to push in order to charm audiences one second, and then emotionally wreck them the next. Ultimately, the film’s best asset is how real it is, for lack of a better word. Grounded to a tee, there are no bells and whistles here, the film is about real characters contending with real issues. Also starring in the film, Victor plays Agnes, a woman attempting to move forward after a tragic accident left her reeling as the world seemingly kept going without her. When her best friend Lydie (Naomi Ackie) comes to town, her arrival truly put things into perspective for her, realizing how stuck she has been. Slowly but surely, the film sees Agnes on the comeback trail, as she attempts to pull herself out of her funk and finally move forward. Showing prowess through her script and direction, Victor arguably shines the brightest through her terrific performance as Agnes. Perhaps not the showiest of roles, her mastery can be found below the surface, carrying layers of pain underneath the brave face she put on for others, primarily Lydie. Just a scene between her and John Carroll Lynch’s Pete sitting down and eating sandwiches is pure magic, and amongst one of the best scenes of 2025. Treading the line between quirky humor and some challenging subject matter with such a deft touch, above all else, Victor shows that she is a name to look out for.
6. Twinless
Another indie darling, Twinless is a captivating character tale led by the vision of actor/writer/director James Sweeney. Charming beyond its years, the film is an emotional roller coaster guided by the chemistry of Sweeney and co-star Dylan O’Brien. They are simply terrific together as Dennis and Roman, two young men who found each other at a support group for grieving twins. Developing an unlikely friendship, they merely yearned for some sort of human connection, trying to re-find their own identities following the loss of their other halves. Becoming inseparable outside the group, their relationship helped fill the void in each other’s lives, if not temporarily as they healed. The more Roman and Dennis were involved in each other’s lives, it grew increasingly clear that their first meeting was not by chance. Over the course of the film, as it peels back the layers from Roman and Dennis, putting the pieces together unveils tragic lives filled with secrets that would inevitably surface. In spite of their flaws, one can’t help but want it to somehow work out for them, even though that outcome seemed unlikely. Showing some impressive vision, Sweeney knows how to hit the right notes with his camera, and his writing, however, his impressive performance as Dennis is heartbreaking. O’Brien is just as strong as Roman (and his twin brother Rocky). While he and Sweeney have a lot to unpack here, as Roman and Dennis, they handle these complex characters in beautiful fashion. Meanwhile, Aisling Franciosi is a scene-stealer as Marcie, a co-worker of Dennis’ that would disrupt the main dynamic between he and Roman. Exploring grief and the human condition in such a refreshing way and subversive way, I, for one, cannot wait to see what James Sweeney does next.
5. Hamnet
One of the three main contenders for Best Picture at the upcoming Oscars (One Battle After Another is not present in these lists), Hamnet is as beautiful as it is sad. A tearjerker of the utmost degree, the film, an adaptation of the book of the same name by Maggie O’Farrell (who also co-wrote the film with Oscar-winner Chloe Zhao), is a powerful story about grief and moving forward following devastating loss. Based on the story that inspired one of William Shakespeare’s greatest works in ‘Hamlet,’ the film takes place in 16th century England and follows Agnes (Jessie Buckley) and William Shakespeare (Paul Mescal), a couple who lives are turned upside down by the tragic death of their son Hamnet (Jacobi Jupe). As everyone processes grief in their own way, their son’s death took Agnes and William in much different directions. Instead of bringing them together, Hamnet’s death pushed them further apart. An emotionally-charged time, processing what had happened and attempting to move forward proved to be a challenge for the couple. A beautiful film technically, breathtaking cinematography and a powerful score make for the perfect backdrop for Agnes and William’s journey through grief. Mescal, and the Best Actress frontrunner according to most of the pundits in Buckley (ahead of Rose Byrne in the aforementioned If I Had Legs I’d Kick You), are sensational here. The eventual performance of ‘Hamlet’ was certainly a cathartic moment, with every ounce of that emotion earned, putting Zhao back on the map.
4. Weapons
The first of the two big Warner Bros. horror releases of 2025 (scroll a bit lower for the other), Weapons was part of the discourse long before the film was released thanks to a genius marketing campaign. But even then, there was much more to that story. Writer-director Zach Cregger’s follow-up to 2022’s underrated Barbarian, the film is centered around the mystery behind a group of children from one classroom who all left their homes on the same night and never returned. Consuming the surrounding community, the growing frustration from the lack of answers made for a powder keg that was ready to blow up at any moment, as teacher Justine Gandy (Julia Garner) found herself in their crosshairs. With all the missing children coming from her classroom, she was an easy target, for better or worse. Slowly succumbing to the pressure of a town essentially ganging up against her and blaming her for what had happened to the students in her class (minus one), she sought her own answers, crossing paths with the true forces at play. The strong psychological horror aspects merely paved the way for some real evil, a character kept as a surprise for audiences (spoiler alert), the evil Aunt Gladys (Amy Madigan). However, one of the loudest voices against Justine, Archer (Josh Brolin), the father of one of the missing children, became open to the fact that there was something more going on. Banding together to find the missing children and to stop whoever was responsible, from there, the film became an uncomfortable yet exhilarating roller coaster, culminating in a chase sequence that will be hard to forget. Stepping it up with his script and his direction, Cregger just knows atmosphere and how to put audiences right into the horror. Earning an Academy Award nomination for her work as Aunt Gladys, Madigan’s performance is easily an all-timer.
3. Sinners
The other major Warner Bros. horror, and the other big Best Picture contender present here, Sinners, is well worth the hype. What more can be said about Ryan Coogler? Putting his twist on yet another genre, it is more than just a mere horror. A period piece and a commentary of the world at that time, one where racism and segregation ran rampant, the film features powerful imagery throughout. Setting the tone and making up the background of much of the story, the contrast between that and larger-than-life twin charismatic figures of Smoke and Stack (both played by Michael B. Jordan), whose plan to move back to their Mississippi hometown to start new lives. Wanting to make their mark, some reconciliation had to be made. However good their intentions were, there is evil everywhere, and not necessarily all in human form. A vampire film, the symbolism is fairly obvious, but once it settles in, it is truly a sight to behold. Here, Coogler truly gets to show off and strut his stuff as one of the best storytellers working today. Taking familiar tropes and conventions, he subverts audiences’ expectations in a creative way. Very much a horror film, one can’t help but be emotionally invested in his characters, thus giving the story a much needed weight. Coogler’s creativity and imagination, meanwhile, it clear through every frame. Crafting a narrative that is as tense and scary as it is poignant, music would also play a large role in the film. The infamous ‘history of Black music’ esque sequence is one of many standout sequences. The score and soundtrack tie everything together beautifully. Jordan, and the rest of the great cast assembled here, all deliver, while a star-making performance from Miles Caton make him a name worth keeping an eye on in the future.
2. No Other Choice
I had no other choice than to include No Other Choice here. Completely snubbed following this past week’s nominations announcement for the upcoming 98th Academy Awards, I will do my part in giving writer-director Park Chan-wook’s latest the flowers it deserves. Based on the book “The Ax” by Donald E. Westlake, this fantastic dark comedy and ode to the everyday working man just hits even harder in today’s day and age, especially those whose role has been systematically reduced over the last few decades, often as a result of automation and/or corporate greed. A very human story about a man who is simply trying to support his family, he found himself unceremoniously relived of his duty as a manger for a paper company, after 25 years of dedicated service. An unfortunate situation for sure, what is most notable about this film is what he did about it, however unorthodox his actions may have been, essentially eliminating the competition. While absolutely hilarious, its indictment of the evolving (or devolving) Korean working class structure bites just as hard. Propelled by a terrific script and lead performance from Lee Byung-hun, it is easily one of the best films of this past year. On the other hand, Park shines as brightly behind the camera. Beautiful cinematography and a powerful score almost make it dreamlike, despite the subject matter making more akin to a nightmare. As funny as it is heartbreaking, its impact comes from how grounded and relatable it is, and the combination of Park and a delightfully flawed and awkward Lee go a long way in making that happen.
1. The Life of Chuck
Premiering at the 2024 Toronto International Film Festival, and wining the prestigious People’s Choice Award that year, it is still weird that The Life of Chuck did not see a theatrical release until early June 2025. Be that as it may, better late than never, but the gap between TIFF and its release, and the gap between June and now, certainly did not do it any favors. When it comes to Stephen King and Mike Flanagan, they just go together, be it film or television adaptations, and his latest effort is no different. Now while not all of King’s works are doom and gloom, Flanagan’s third adaptation of his work, following Gerald’s Game and Doctor Sleep, sees the writer and director take on one of King’s more hopeful works. Based on the novella of the same name, the film is an optimistic tale about the meaning of life and finding the joy out of the little moments and pursuing our dreams until our time is up. Blending tones and genres seamlessly, the result is an emotional roller coaster that packs a wallop. Employing an unorthodox structure, once it has its cards are on the table, the film is absolutely magic. Going by the title, the story is pretty self-explanatory, but Chuck (Tom Hiddleston) is simply an outlet for a larger story that goes far beyond him. Finding light in the midst of darkness, the film brings upon an aura of hope that is uplifting to watch. Where it is truly at its best is within the small moments, as our lives are the sum of our experiences, both good and bad. Chalk full of standout moments, both big and small, the common theme between them is dance, as dancing is when Chuck felt the most alive, the most like himself. One particular moment, an extended dance sequence on a boardwalk is arguably the best, and one that will be hard to forget. In a post full of films with moments that will be hard to forget, this one stands out the most. Aside from Hiddleston, the film boasts an impressive cast of Flanagan regulars and newcomers that all contribute in impactful ways, Mark Hamill has the biggest role, an is a scene-stealer as Chuck’s grandfather Albie. A beautiful rumination on life, death, and all the joyous moments in between, not only was The Life of Chuck the best film of TIFF 2024, it is also the best film of 2025.
Bottom 10 Films of 2025:
10. I Know What You Did Last Summer
Remakes and reboots are going to be a part of the filmgoing experience, for better or worse, whether we want them or not. Nowadays, everything is fair game and nothing is safe. Unfortunately, we’ve come to a time where films from the 1990s are getting remade or rebooted (making me feel old), and the least successful remake (or requel) of this past year is I Know What You Did Last Summer. Debate about what should or should not be remade is a futile gesture, but that one? Leveraging existing IP by gearing it towards a newer generation is as much of a trend of lazy filmmaking as it is an indictment of this latest generation, one who doesn’t watch older films (I made myself feel old again). As it relates to this new version of IKWYDLS, the story is basically the same as the original where a group of teens drunkenly mow down an innocent bystander on a dark coastal road, only for them to later be hunted by a slicker-donned killer with a hook hand. Telling it through an obnoxious Gen-Z lens and adapting it to the current day, the result is a mess that is more unbearable than tense or scary. For the most part, it is scenes are tied together by questionable characters making questionable decisions as they drop one by one. Predictable to a tee, it becomes even more ridiculous as it ties in Jennifer Love Hewitt and Freddie Prinze Jr., who reprise their roles as Julie James and Ray Bronson. Leaning on the past to sell a new story in the present always runs the risk of tarnishing the work that was done before it, and this requel did exactly that (despite the fact that a post-credit scene hints at more).
9. The Alto Knights
If someone asks what is better than one Robert De Niro, the answer is not two Robert De Niros. Nevertheless, The Alto Knights gives audiences exactly that. Casting any actor in a dual role is often seen as a marketing gimmick, but when it works, it really works (Michael B. Jordan in Sinners). Billed as the next big New York mob epic, the film was anything but. A genre that De Niro is definitely no stranger to, perhaps he retreats to its familiarity in what amounts to a paycheck role (or roles). Director Barry Levinson’s envisioning of the real life Costello-Genovese feud, De Niro plays both sides, the passive Frank Costello, and his childhood friend, the volatile Vito Genovese. In what amounts to a turf war between the two, as the latter rejoins the fray after spending time away fleeing the country. In trying to find some deeper meaning in it all, the film simply twiddles its thumbs for around 2 hours. From there, a back-and-forth ensued between Costello, who claimed to be out of the game, and Genovese, who was not convinced of his retirement. However, the film’s biggest failure is in its execution of that premise, amounting to one of the dullest films of the year. While De Niro’s dual characters don’t inspire much in the way of excitement, he does show some effort in making each of his characters feel distinct, while the makeup work for Genovese does deserve some commendation. Don’t get me wrong, this is still a paycheck gig, for better or worse, but he is simply a novelty in a film that has very little new to bring to the table or the conversation. Fading into relative obscurity as quickly as it did, Levinson and De Niro have been much better in other mob offerings (i.e. Bugsy or Goodfellas just to name a few). Go for those.
8. Snow White
With another year, comes another Disney live action remake, like clockwork. Fortunately, or not, Snow White is next, a live action adaptation of the animated classic of the same name. Putting any new take on such hallowed ground is always going to rub audiences the wrong way, and boy did this one do that. A controversial and troubled production from the start, the odds were highly stacked against this one but unsurprisingly, the film failed to overcome them on almost every level. Be it its depiction of the Seven Dwarves, or the reimaging of several key plot points, the worst aspect about the film its musical elements. Not only do they not fit within the story, they hurt the film’s momentum. Star Rachel Zegler, as Snow White, has proven that she can sing, it just doesn’t work here. Meanwhile, Gal Gadot, as the Evil Queen, has proven that she can’t do much of anything, and having her sing for no apparent reason certainly did not help her case. Lacking any sense of wonder or imagination, this paint-by-numbers modern day adaptation has a dullness and an awkwardness to it that is hard to ignore. Forced to the point that it is merely another product off the assembly line, made for audience consumption, it merely came and went. Absolutely nothing stands out here, as the film is likely to disappear from one’s consciousness long before the credits roll. Pre-release and post-release controversy aside, they are not the reason the film ultimately failed at the box office, it failed because it didn’t break through with anyone. Not quite the worst Disney live action adaptation, it is nowhere near the best either. Largely considered as fine, fine should not be accepted as a benchmark to aim for.
7. Wolf Man
Separating the words ‘Wolf’ and ‘Man’ are not enough in this otherwise dull werewolf horror film. Wolf Man, if anything, plays it too safe and fails to move the needle in a satisfying way. Retooling a classic Universal monster for modern audiences, where it goes wrong is its inability to modernize and ground its story. Never quite reaching those same heights, as it struggles to pair its sombre atmosphere with little to no tension to be had, leaning heavily on half-baked allusions to domestic abuse and generational trauma to lend credence to its weak monster allegory. Expecting audiences to invest emotionally in its character and story, without doing any of the legwork to earn that investment, the film is literally giving nothing for them to latch on to. Attempting family drama as a way to ground the story, the film fails to sustain itself tonally, depicting the destruction of a family that it never bothered building in the first place as the mind of Christopher Abbott’s Blake slowly succumbed to his fate. Throwing out commentary taking points, it is all for show, trying to make itself look more deep than it actually was. If it has anything going for it, Abbott definitely commits to the primal physicality of the role, but the film doesn’t give him anything remotely compelling to do. Over the course of the film, as he devolved, Abbott’s performance continued to veer more and more towards the absurd, sometimes unintentionally funny. Murky-lit scenes and questionable VFX mostly hidden under darkness, make for an exercise in overwhelming emptiness. Emotionally hollow, a chaotic climax without rhyme or reason is the cherry on top of a film that audiences will be counting down the minutes until it is over for good.
6. Five Nights at Freddy’s 2
Popular enough IPs have had a history of sustaining film franchises, regardless of their quality. As difficult as it may be to believe, it happens. The ‘Five Nights at Freddy’s’ franchise has given fans video games, books, and now film adaptations. While I may not be the most familiar with the video games and the books, the film adaptations have not panned out thus far. While 2023’s Five Nights at Freddy’s was a frustratingly dull adaptation that plays it too safe and could have been so much more, the sequel, Five Nights at Freddy’s 2 is an improvement over the original, which isn’t saying much. Offering more of the same, for better or worse, the film once again trots out its lifeless animatronic killer robots and takes them to the streets, and also dives deeper into the lore of the robots and Freddy Fazbear’s. Trying to connect it all with Mike (Josh Hutcherson), his little sister Abby (Piper Rubio), and Vanessa (Elizabeth Lail), the result is a mess amplified by their sudden dysfunction following the events of the original film. Forced for the sake of unearned tension, this dynamic change simply made things needlessly more complicated. Suffice it to say that the story for the sequel essentially doesn’t matter, however, it’s not done with this film. Focused on the inevitable final film of the tragedy from the start, that lack of effort shows. Both unremarkable and uninspired, the film merely goes through the motions on both sides of the camera. Though the direction is fine, the script from series creator Scott Cawthon is the real downer. Dealing with middle film syndrome, it is just messy character development, no tension, and animatronic robots that serve as nothing more than window dressing. Doing more interesting things with them, the film doesn’t go far enough with them, perhaps saving that for thar third and final film. That being said, based on the output so far, the bar has never been lower.
5. A Minecraft Movie
Being successful at the box office does not make a film immune from my wrath. A Minecraft Movie ended at #5 at the 2025 Worldwide Box Office (raking in just under $960 million), but most audiences will know it for c****** j***** (we don’t need to repeat THAT word). Based on ‘Minecraft,’ the worldwide phenomenon video game, the biggest irony is how a film about a game fueled by creativity is the exact opposite. Films based on video games have historically not had the best track record, and this one is no different. Given no tangible source material to lean on, the possibilities of where it can go are seemingly endless. Full of cutesy characters and environments, those would surely have made good fodder for a film geared for children and families. In reality, the only thing the film has in common with the video game is its name in its title. What should have been a layup is saddled with a terrible and unfunny script, a nonexistent story, and phoned-in performances. In spite of its many flaws, leaving a window for younger audiences full of enough flair to keep them engaged, it also leaves nothing in terms of substance, something that is clear from the start. Producing thin characters, while beating audiences over the head with a treasure trove of tropes and exposition, there is little actual adventure to be had, or at least anything worth caring about. Utterly unremarkable in every conceivable way, the film is simply a futile exercise devoid of anything resulting thought or imagination. The decent cast do their best with the subpar material, but they can only do so much with something that is nowhere near as funny as it thinks it is. Leaving older audiences nothing to latch on to, its attempts at aiming higher are cringeworthy at best. All of it amounts to a painful watch that will just have audiences feeling bad for all of those involved, especially Jason Momoa, who delivers the worst performance of last year. Meanwhile, Jennifer Coolidge appears in a limited role as an utterly unnecessary character that adds nothing to the plot other than one of the worst scenes of the entire film.
4. Love Hurts
Love may hurt, but so does this film. Love Hurts is barely a film to begin, wasting the talents of Ke Huy Quan in his first live action feature film after his Oscar-winning performance in 2022’s Everything Everywhere All At Once. He certainly makes the most out of his appearance here in a film chipped away to near barebones. When it comes to the adage of less is more, in this case, less is just less. Running at an extremely lean 83 minutes, there is very little meat left on the bone. Another story about a man with a troubled past pulled out of their self-imposed exile and thrust back into their former lives, often at the expense of the new lives they had since built for themselves, this film travels along those lines, plus a few subtle variations. Centered around a former hitman turned real estate agent Marvin Gable (Quan), the quiet little life he had created for himself would suddenly be turned upside down by the return of a woman named Rose (Ariana DeBose) and his brother and former crime boss Alvin (Daniel Wu). The collision of his past and his present, undoubtedly meant to be catalyst for plenty of internal drama, leaves very little to be desired and even less to hold onto. Lacking character development, the narrative gets swallowed up by the kind of story that is simple to a tee and is supported mostly by heaps and heaps of empty exposition that mean next to nothing delivered in a way that leaves even less to be desired. Merely a means to set up the film’s various action set pieces, they are the highlight of a film that offers very little of them. Above all else, Quan and DeBose could do so much better.
3. Flight Risk
The kind of film that seemed unbelievable when the first trailer was released back on June 27th, 2024, is one that is unfortunately real. Flight Risk did not exactly defy expectations, releasing the following January before bowing out not too long after. Not creating the best of impression from the start, the final film did very little to change it. Starring Mark Wahlberg and directed by Mel Gibson (seemingly on autopilot, no pun intended), it was basically doomed from the start. With most of the film taking place within the cockpit of a small airplane, the characters and the actors themselves are holding on for dear life, held hostage by such a mediocre script. Stuck between two different tones, the film insists on playing it straight when it would have benefitted by embracing its overtly silly premise. On one side, there’s Michelle Dockery as Madolyn, a disgraced air marshal given another chance in the field in the form of a mission to accompany a man named Winston (Topher Grace), a witness set to testify at a trial against a powerful crime lord. On the other side, there’s Daryl (Wahlberg), a sleazy pilot who is not quite what he seemed, balding aside. Featuring a premise and a setting bordering on Hitchcockian, the possibilities on paper were there. However, the film fills those long stretches of cockpit time with extended phone calls and a few other cheap tricks sprinkled in. Meanwhile, dominating the screen is a ridiculous conspiracy angle that makes an already short film (91 minutes), feel much longer. Attempting to ground the cockpit scenes in something, most will be hoping for the plane to crash. If anything, though Wahlberg embraces the campiness of his role, the film does not go far enough with what he can truly bring to the table.
2. Bride Hard
It’s just Die Hard, but it’s with brides. When it comes to Bride Hard, it feels like that pun is simply a jumping off point for whatever the filmmakers have concocted here. That being said, director Simon West has plenty of cred when it comes to the action genre, showing flourishes of that through its action scenes. The biggest problem with the film is everything else. This spy and wedding movie action comedy spoof hybrid is just an embarrassing effort for all those involved, in front of and behind the camera. Failing miserably at both, the film completely gives up altogether come its third act. On top of being too long, featuring autopilot direction and a completely amateurish script without any grasp of how comedy or even how a film in general works, the result is a state of perpetual cringe that offers little to no relief. Similarly, those looking for any redeeming qualities need to look elsewhere, overtly goofy and cringeworthy, those looking for laughs and thrills can look to the countless other films that do the same things Bride Hard does but better. Star Rebel Wilson, already an acquired taste for a lot of audiences, brings much of the same boisterous energy we know her to have here, for better or worse. Playing Sam, a secret agent and the maid of honor at her best friend Betsy’s (Anna Camp) wedding, those lives would clash at the worst possible time, making it that much more complicated for her to keep her different lives separate. The circumstances behind both don’t matter, as the comedy stems from the reactions of bewildered wedding guests and Sam’s attempts to play both sides of the conflict. However, it was only a matter of time until they came together. A lose cannon agent who preferred to run into danger, the film fails in convincing anyone that Wilson is capable of performing all of what that job entails. On the other hand, the awkward humor from watching the other guests try to survive and make sense of what was happening is painful at best. Now it wouldn’t be Bride Hard without the other bridesmaids chipping in. Pitch Perfect reunion aside, that unfortunately did not do much to move the needle.
1. Him
Him is not it. As was the case with 2021’s ‘Candyman,’ it is not a Jordan Peele movie, he merely serves as a producer, working through his production company, ‘Monkeypaw Productions.’ That being said, this does not absolve him from this complete misfire. Putting football and horror together was always going to be a tough sell but to its credit, the film got made. While there is football and there is horror, where the film fails is when it tries to combine the two. Hinting at more beneath the surface, it also fails to go deep enough to deliver on the kind of commentary it tries to make, like it doesn’t know how. An approach that will frustrate audiences until they inevitably stop caring, many will find themselves asking what was the point of it all. On paper, there is enough reason to sit down but in reality, the film offers little reason to stay. The story of a young and up-and-coming quarterback given the opportunity of a lifetime to train with his childhood idol, the experience becomes a lot more than he had ever anticipated. Going out of its way to show audiences that there is something not quite right with this arrangement, they are left waiting for the inevitable moment when the story and characters catch up with that fact. Throwing plenty of vague exposition at the wall and hoping that something would stick, that choice proved more hurtful than helpful, leaving the film with no viable path forward. In the end, it is merely a long-winded way to make some larger commentary about the relationship between White owners and Black athletes. Plot and structure aside, the silly dialog and the stiff performances, be it a dull Tyriq Withers or a too old Marlon Wayans, are the proverbial final nail in its coffin. Not scary in the slightest, audiences will simply be left waiting for something that never comes. Ending with a particularly brutal climax, it all amounts to next to nothing in the grand scheme.
And with that, 2025 is now over and the second quarter of the 21st century is well under way. This year has the makings of a great one with such directors as Christopher Nolan (The Odyssey), Denis Villeneuve (Dune: Part Three), Jordan Peele, Greta Gerwig (Narnia: The Magician’s Nephew), Steven Spielberg (Disclosure Day), and more, all releasing films in 2026. While many of these films are sure to make their mark at the box office, audiences will have to wait until December 18th (assuming the date holds) for the aforementioned Dune: Part Three and the next Avengers installment, Avengers: Doomsday (or what the internet will inevitably declare as #Dunesday). However, those looking for an earlier Marvel fix can get it in the latest Spider-Man film, Spider-Man: Brand New Day, the second Tom Holland film of the year after The Odyssey. Whatever the season, winter, spring, summer, or fall, 2026 has something for everyone and let us not forget, the film festival circuit is sure to bring even more titles that we don’t even know about yet to the table. In the end, the blockbusters will always be there but those little discoveries are what makes it all worthwhile.
See you all at….
still courtesy of Elevation Pictures
Don’t forget to follow us on Twitter or Instagram or like us on Facebook.
The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.
Post Views: 0
