Best movies of 2025
We dissect the cinema of 2025. Here is our top ranking from best to worst based strictly on our editorial autopsies.
Simón Mesa Soto delivers an unsettling masterpiece about poetry, aging, and failure. Painfully beautiful. 9.0/10.
Oliver Laxe delivers a hypnotic masterpiece where the Moroccan desert becomes a character in its own right—sweaty, hallucinogenic, and transcendent. Raw, filthy, and pure cinema. 9/10.
*Hamnet* review. Maggie O’Farrell’s novel adaptation crowns itself as a devastating work of art, with a masterful Jessie Buckley at its core.
A scathing, no-holds-barred review of *Luger*, the Spanish film that dares to challenge morality.
Bong Joon-ho adapts a book of disposable clones with Robert Pattinson in a frozen planet. Masterpiece or cold calculation? Here's the autopsy.
Danny Philippou delivers an Australian horror film with long takes that reek of scorched celluloid and a Sally Hawkins who devours souls. Claqueta Ácida dissects his nightmare.
We dissect the big winner of the 2026 Oscars. A '70s conspiracy odyssey shot on 35mm that dazzles aesthetes and exhausts mere mortals.
Claqueta Ácida’s evisceration of *The Red Mask*: A film that throbs with terror
Mel Gibson and a mysterious girl in a rural thriller that reeks of rancid testosterone and a script scribbled on a bar napkin. Raja Collins delivers a debut that doesn’t scare, but also doesn’t bore. Is it worth it? Almost.
A devastating takedown of the film *Old Hag*—a cinematic exorcism that leaves you gasping for air and questioning your life choices.
A scathing look at Ryan Coogler’s latest cinematic gut-punch
Bugonia: The Cosmic Snatch
(2025)Two young men convinced an executive is an alien kidnap her. Will they save Earth—or just their own delusions?
Tom Hardy and Pierce Brosnan attempt to elevate a crime drama on SkyShowtime that constantly mistakes deep scowls for dramatic complexity. 💀
A biting critique that dissects Rohal's vulgarity as a substitute for familial pain.
A folk thriller drenched in intoxicating atmosphere and solid performances, yet it lingers awkwardly between the poetic and the predictable. Drew Hancock makes a stylish debut—just don’t expect a revolution.
Zoe Berriatúa serves up a grotesque buffet of social gore and pitch-black humor in this all-you-can-eat orgy of bodies, guilt, and egg fried rice. Is it too raw, or just perfectly decomposed?
When the corn turns red and Frendo the clown sows terror with a grin from ear to ear. Eli Craig grows horror in a rotten cornfield: a killer clown, insufferable teens, and a harvest of clichés.
Dive into Claqueta Ácida’s scathing review of *Weapons*—where ambition backfires, style overshadows substance, and Zach Cregger takes a shot at greatness… and grazes his own foot.
Michael Shanks turns a couple’s lockdown into a nightmare of body horror and psychological toxicity, where love and physical revulsion merge in grotesque fashion.
A review of Ryan Coogler’s Southern Gothic vampire thriller—a stunning aesthetic spectacle that stumbles into self-important dramatics and hollow pretension.
Strange Harvest: The Fake Documentary That Doesn’t Know It’s Fake (And That’s Its Only Charm)
(2025)Stuart Ortiz delivers a B-movie found footage flick with more ambition than budget. Is it worth it? Only if you enjoy horror that smells like a poorly ventilated garage.
Danny Boyle and Alex Garland attempt to resurrect post-apocalyptic terror with an iPhone 15 Pro Max. Spoiler: it doesn’t work.
Andy Muschietti returns to Derry to spin the origin tale of Pennywise. Spoiler: the clown remains the only interesting thing in the room.
A scathing review of the movie Janur Ireng: Sewu Dino the Prequel, with irony and dark humor
Dave Franco and Alison Brie sip from the chalice of codependency in this Australian psychological thriller that reeks of emotional sweat and bargain-bin CGI. Art or autopsy of a relationship?
An acidic critique of Valerie Buhagiar's unsettling yet predictable effort, where rural horror remains in the shadows.
David Mackenzie attempts to cross disaster cinema with a high-stakes heist thriller in a race-against-the-clock romp that runs out of fuel halfway through. 💀
A war movie that promises everything and delivers a dud
Aleksandr Boikov serves up a gourmet horror menu in 'The Last Supper,' but the main course tastes like thin gruel. Art or self-indulgence? Valeria Von Doom carves it open with a scalpel.
A glacial immersion into the bureaucracy of digital guilt under the direction of Oleg Vitvicki.
Julia Ducournau delivers a teen drama with body-and-soul pretensions, but all she manages is a poorly healed tattoo on the arm of French cinema.
Genki Kawamura adapts *The Exit 8* video game with more loops than a politician’s campaign promises. Will it escape the purgatory of J-horror, or is it doomed to linger in its own terminal?
Al Kalyk serves up an Australian boxing drama with more sweat than technique. Mavournee Hazel shines, but the script stays in the gym and never steps into the ring. Is the fight worth it?
85 minutes of Argentine Gothic atmosphere that promises more than it delivers. Bastian Noir dissects this horror ritual with a scalpel and sarcasm.
Paul Thomas Anderson adapts *Vineland* and gifts us 162 minutes of pretension masquerading as profundity. DiCaprio and Penn shine, but the script drowns them. 🎬🔥
My Other Self
(2025)A scathing critique of María José Araújo's sparse work, where the mirror shatters in six minutes of pretension and talent.
Went Up the Hill: The Thriller That Climbed the Slope Just to Tumble Down Like a Barrel of Clichés
(2025)An Australian mystery with more holes than a Swiss cheese and less tension than a telenovela episode. Claqueta Ácida dissects this suspense fiasco with a scalpel and a side of sarcasm.
