Here are Cinephile Corner’s picks for the 10 best movies of 2025 so far (in alphabetical order):
Dangerous Animals
Dangerous Animals is an effective piece of genre filmmaking that doesn’t overreach and knows exactly what it wants to be. It’s scary, sharply made, and full of small, clever choices that elevate it above its straightforward premise. It’s the kind of late-night horror flick that benefits from a pitch-black room and a strong stomach, and one that knows how to get under your skin without overstaying its welcome.
Read our full review of Dangerous Animals
Eephus
Eephus isn’t flashy, and it won’t be for everyone. Its drama is muted, its pacing deliberate. But for those tuned into its frequency, it’s a poignant, beautifully observed story about time, tradition, and the people we share it with. Whether you’re a baseball fan or not, the themes are universal.
Read our full review of Eephus
F1 The Movie
F1 The Movie is not in the same league as Top Gun: Maverick or Only the Brave, but it’s a clear step above Joseph Kosinski’s more uneven efforts like Tron: Legacy or Oblivion. It’s a little formulaic, a bit heavy-handed with its exposition, and sometimes hampered by one-note supporting characters. But when it’s in motion—when the cars are screaming down straights, weaving through chicanes, and risking it all on the final lap—it’s exactly the kind of summer movie spectacle we don’t get enough of anymore. Not a podium finish, but definitely worthy of a strong showing in the points.
Friendship
Friendship is one of the more unique comedies of 2025—a weird, squirm-inducing, unexpectedly affecting film that feels true to its title in all the worst (and best) ways. It’s another feather in A24’s cap for championing daring, off-kilter voices in comedy. If you’re in tune with Tim Robinson’s specific wavelength, it’s a must-watch.
Read our full review of Friendship
The Phoenician Scheme
The Phoenician Scheme finds Wes Anderson at perhaps his most emotionally direct since The Grand Budapest Hotel, yet without sacrificing the signature aesthetic and structural quirks that define his work. Where recent efforts like Asteroid City and The French Dispatch relied heavily on narrative framing devices, nested storytelling, and dense, text-heavy scripts, The Phoenician Scheme plays more like an emotional adventure story—a film that hits hardest on first viewing, even as it leaves behind layers to explore on rewatches.
Read our full review of The Phoenician Scheme
The Shrouds
David Cronenberg’s The Shrouds isn’t a genre masterpiece like The Fly or Dead Ringers, and it’s less refined than Eastern Promises. But it’s haunting in a different way. It’s the kind of film you think about more after it ends. And that might be the point. It’s a slow-burning elegy from a filmmaker who’s spent decades exploring transformation, now confronting the one transformation that awaits us all.
Read our full review of The Shrouds
Sinners
Ryan Coogler has made something rare with Sinners: a horror film with bite, brains, and soul. It’s a film that’s as entertaining as it is thoughtful, never content to just scare its audience without giving them something to chew on. Michael B. Jordan gives a career-high performance as twin gangsters returning to their former lives in the South.
Read our full review of Sinners
Thunderbolts*
Thunderbolts* may not feature the most iconic names in the Marvel Cinematic Universe, but it finds unexpected strength in its emotional core and character-driven storytelling. Directed by Jake Schreier, making his MCU debut after co-directing the acclaimed series Beef, Thunderbolts* brings together a group of misfit characters from previous MCU movies and television series like Black Widow, The Falcon and the Winter Soldier, and Ant-Man and the Wasp to form a surprisingly effective and introspective superhero team-up.
Read our full review of Thunderbolts*
Warfare
Warfare is the kind of war film that forgoes grandiosity in favor of raw, boots-on-the-ground immediacy, and the result is a lean, harrowing experience that feels startlingly real. Co-directed by Alex Garland and former Navy SEAL Ray Mendoza, the film comes just a year after Garland’s more polarizing and thematically ambiguous Civil War—a movie that aspired to be a socio-political reckoning but often buckled under the weight of its own ideas. In contrast, Warfare is stripped down and visceral in a way that’s much more effective.
Read our full review of Warfare
The Woman in the Yard
In a time when many horror films try to be either thinkpieces or thrill rides and fail to be either, The Woman in the Yard hits a rare sweet spot. It’s a horror film that’s genuinely tense, emotionally grounded, and smartly contained. It may not be a game-changer, but it’s a solid, satisfying entry in the modern horror canon—and a reminder that even filmmakers with inconsistent track records like Jaume Collet-Serra can deliver when the right material lands in the right hands.