2025 Halfway Ranking

2025 is halfway done so its time to get ranking. Only films I've seen for the first time in the cinema are eligible and we are talking UK releases from 1st January to 30th of June. If your favourite film of the year isn't here, I didn't see it on the big screen. If it is here but low, feel free to tell me how wrong I am. 

39.  Hurry Up Tomorrow

When a musician decides to write and star in their own movie the results are often pompus nonsense, so the problem with this effort from Abel "The Weeknd" Tesfaye isn't that its ridiculously self-aggrandizing (although it very much is), its that its unrelentingly dull, hideous to look at and worse to listen to. The star should have just made a concert movie. 

38. A Working Man

Jason Statham is the perfect Hollywood action man, able to look cool shooting guns, punching people's lights out or driving fast cars. Sadly, the meandering script and piss poor production values on display here give him no chance to shine and leave us staring at the things he can't really do. Like anything approaching an American accent. Hard to believe this is the same director/star combo that gave us last years "The Beekeeper" 

37.  Love Hurts

After decades in the wilderness, Ke Huy Quan finally gets the chance to be a leading man. What a shame that this weak action comedy does him a disservice. Quan is good value as the mild mannered realtor with an ass kicking past and some of the slap stick fighting is enjoyable enough, but it never really mines the fun of the dual life set up and there is a distractingly unbelievable romance icking things up.

36. Wolfman

After bringing The Invisible Man into the twenty first century to resounding success a couple of years ago, writer/director Leigh Whannell tries the same with the Wolf Man but misses the mark big time.  Attempts to be a metaphor for family breakdown via "The Fly" style body degradation but both elements are woefully undercooked, leading to a bland and boring viewing experience. 

35. Dangerous Animals

Jai Courtney gives a gloriously gonzo performance as a mad boat captain who feeds tourists to sharks and videotapes the grizzly results, but the movie takes a nosedive anytime he isn't on screen. The battle of wills between him and captive Hassie Harrison would be intriguing if it wasn't undermined by the rather patronising idea that she needs a love interest in order to find that extra bit of grit required to survive. 

34. Until Dawn

Based on a game that apes horror movies, this is a film that uses game mechanics. Every time the cast die they respawn and live the night over again. An interesting premise and it gets off to a strong start but soon runs out of creativity and attempts to focus on the bonds of friendship fall flat as the cookie-cutter characters are too annoying to get behind. A late effort to tie events more directly to the game just muddies the waters.

33. Death of a Unicorn

Horror comedy about a vengeful mummy 'Corn taking out a pharmaceutical company owning family of rich dick heads after they discover ground unicorn horn can cure all manner of ailments. Entertaining performances from Richard E. Grant and Will Poulter, but the script is ponderous and Paul Rudd's bootlicking, daughter disregarding lawyer is one of the most unlikable "sympathetic" characters of all time.

32. The Women in the Yard

Okapi Okpokwasili is imposing and scary as the mysterious figure who appears in the garden of a recently bereaved family, but the idea of ghosts as a metaphor for depression and suicidal thoughts has been done many times before and much better than this. The presence of a young child makes watching more stressful than scary and it's hard to get behind the struggling mother since we never see her at her best.

31. Captain America: Brave New World

Less brave new and more same old as Marvel serve up another bare bones, made in the edit effort. It isn't all bad, Anthony Mackie steps into the lead role with aplomb and Harrison Ford is here, but it feels like a TV show and the marketing gave away the ending, meaning there is no tension for most of the runtime. That's before we get into the "misguided" decision to dust off and rebrand an obscure 80's Mossad agent superhero. 

30. Ballerina

Ana de Armas brings a different energy to the fights in this John Wick spin off but other than that it's business as usual, meaning nonsense world building and pseudo philosophy bridging the gaps between increasing floaty action scenes. For Wick fans it's surely a welcome addition, but for someone who mentally checked out of the franchise somewhere during chapter 3 it's mostly action white noise.

29. M3GAN 2.0

Sequel to the 2022 break out hit ditches any horror connections and goes full Terminator 2 with the killer doll is resurrected as protector against a new robot threat, but never really delivers on the bonkers premise. The comedy elements work well but the film can't stick to its strengths and has moments of taking itself a bit too seriously. Gets bogged down in needless chatter and plot explanation. 

28. Opus

Stylish but slight cult of personality physiological thriller that lives in the shadow of similar, better offerings. John Malkovich is given the chance to go full John Malkovich as a reclusive pop star come cult leader, to unsurprisingly entertaining results, but the movie doesn't fully develop any of its ideas and the pace is uneven.  Entertaining but easily forgotten. 

27. Flight Risk

Mel Gibson may be a never ending fountain of idiocy in real life but he remains a savant behind the camera. His ability to always choose the right shot gives life to this otherwise very by the numbers one location thriller about a police officer and the witness she is escorting trapped on a plane with a hitman for a pilot. Passable old school fair that will mostly be remembered for Mark Wahlberg's hilarious bald cap.

26. Mission Impossible: The Final Reckoning

The final (allegedly) MI movie keeps up the franchise record of never delivering a bad movie. Just. As ever, Cruise delivers in the action beats but there isn't enough here to justify the near 3 hour runtime as we are subjected to a deluge of exposition and flashbacks. Could do with spending less time telling the viewer how epic and high stakes it is and more time showing them. Has some fun returns from previous series characters.

25. Novocain

A mild mannered bank worker goes after some robbers when they take his new girlfriend hostage. He can't fight, but he has CIPA so he can't feel pain either, allowing him to mangle his body and create some interesting offence. Has a good energy and the violence is gnarly but most of the ideas were shown in the trailer and the story is driven by character decisions that make no sense, even by dumb action movie standards.

24. Babygirl

With a high flying job and loving family, Nicole Kidman seemingly has it all, but embarks on a risky affair with a young intern since her husband isn't into getting freaky in the bedroom. A very modern look at female sexuality, your opinion of which will depend on your ability to sympathise with a (in fairness, self made) one percenter who is prepared to risk burning her life down rather than just open up to her husband.

23. September 05

Follows the kidnapping of the Israeli Olympic team from Munich during the 1972 games from the point of view of the sports reporters who ended up covering events live. It's a tense and well made insight into the day that changed journalism forever and although keeping the events at arms length dulls the intensity it leaves plenty of food for thought. Its refusal to provide context is frustrating, particularly given current events. 

22. Presence

Takes place entirely inside a house, from the point of view of a spirit with an intense interest in a troubled family. With its high concept and twist ending that doesn't make sense if you think too hard, it feels like a student film, but it's a Steven Soderbergh movie so is shot to the highest possible standard. Not a horror movie by any stretch but has an intense atmosphere of impending doom and a haunting final shot.

21. The Amateur

A twist on the "wronged man gets vengeance" flick in that Rami Malek is no action hero but a CIA tech nerd who takes out his wife's killers with schemes and booby traps. Doesn't really hit any beats a regular gun em down revenge thriller doesn't but Malek's nervous energy and different style of confrontation make it feel fresh enough. On the downside, it does its female characters dirty.

20. The Last Showgirl

Pamela Anderson turns in a great performance in this poignant but limited drama about a closing Las Vegas show. Catches the melancholic atmosphere of an end of an era and the sadness and resentment that comes with being left behind. Great character work on show and a distinct visual style shows a far less glossy side of Las Vegas than we are used to seeing. Slightly held back by the fact it only has one gear from start to finish.

19. Warfare

Alex Garland teams up with former Navy SEAL Ray Mendoza to visualise a blow by blow account of a time Mendoza and his unit came under enemy fire in Iraq. Events take place in real time with minimal cinematic flair, creating a nerve-shreddingly tense and real feeling depiction of modern war. It is, by design, presented without context and completely partizan, so will frustrate many people, but it is incredibly effective in what it portrays. 

18. Thunderbolts*

The first theatrical MCU release since Marvel declared they were going to start putting a bit more planning and effort into these things and the new approach instantly pays off. Comes with some pretty sizeable plot holes but using less famous characters allows them to fit the script rather than the other way around and in a franchise so often defined by glibness and irony, its nice to see the day being saved by people being, well, nice. 

17. Companion

Sci-fi tinged exploration of one-sided, controlling relationships with Jack Quad playing (shocker) a loser who, as borderline farcical events ramp up, takes increasing advantage of his (for reason spoiled in the marketing) insanely devoted girlfriend, Sophie Thatcher. Not an especially deep observation but entertaing and nails a type of humour that so often goes toe-curlingly wrong 

16. Final Destination: Bloodlines

Barnstorming return for a franchise that, with its flexible gimmick, probably never needed to go away.  This time, death/fate is after a whole family who have been dodging their destinies for decades and there is a good mix of humour and entertaining kills. Attempts to tie into previous films are pretty pointless but the opening set piece is a series highlight and there is a surprisingly poignant final screen appearance from the legendary Tony Todd.

15. The Accountant 2

Belated sequel to the 2016 film about Ben Affleck's titular, neurodivergent genius who both cooks the books for criminals, and kills the really bad ones. Focuses more on the social aspect of the main characters condition this time round leading to a film that is surprisingly lite on action and more of a hang out movie. Fortunately, Affleck and Jon Bernthal are so good together you don't need them doing anything other than having a blast navigating their unique brotherly bond. 

14. A Real Pain

Two formerly close cousins reunite for a holocaust tour in memory of their recently deceased grandmother. Oscar winning turn from Kieran Culkin (although he is definitely more of lead than supporting role) as the outgoing but troubled Benji, who is both a real pain and in real pain. Successfully marries whimsy, laughs and emotion even if you can see the notes it's going to play before they are plucked.  

13. The Alto Knights

Is this the best mafia film featuring Robert De Nero or written by Nicholas Pileggi? Of course not but its still got style and period atmosphere in abundance and Bob is locked in, in a way he isn't often these days, as he pulls double duty playing both Frank Costello and Vito Genovese. The plot is languid but a film like this lives on performances and sharp dialogue, both of which excel.

12. Tornado

The 18th century Scottish Western/Samurai film you didn't know you needed, as a Japanese puppeteer and Tim Roth's band of outlaws vie for some stolen gold in a tale of family, honour and clashing cultures. Plot is minimal but barren landscapes combine with superb cinematography and score to create a hauntingly bleak atmosphere. A film with its own distinct tone and cinematic language.

11. Heart Eyes

Looked like it was going to be a slasher film with Valentine's Day branding, and it is, but it is also something more clever and entertaining. Hits all the beats of a standard rom com with the slight hiccup that a masked killer is trying to off the rivals come lovers as they have their moments. Funny and breezy without skimping on the crimson when it comes time for heads to roll, it's a fresh take on two genres.

10. The Monkey

Stephen King short story about a wind up monkey that causes death every time it activates is reimagined as the blackest of black comedies by "'Longlegs" director Osgood Perkins. Theo James is great as the oddball twins who's lives are defined by the murderous simian and there are a couple of very entertaining cameos, but the real selling point is the blend of macabre laughs, OTT splatter and genuine meditation on grief and loss. 

9. F1

Director Joseph Kosinski gives Formula 1 dogfights the same treatment he gave aerial ones in  "Top Gun: Maverick". The story of a veteran racer returning to the worlds premier motorsport for one more crack is as staid and predictable as it gets but the combination of some of the most impressive racing scenes ever put to film and Brad Pitt's megawatt charisma turbo charge the movie. Sometimes the tastiest meal is just a perfectly crafted cheeseburger. 

8. 28 Years Later

Decades on from reimagining the zombie genre with "28 Days Later", Danny Boyle and Alex Garland return to world they made with something completely different. Less straight up horror, although there is plenty to unsettle, more melancholic coming of age tale with a focus on humanity and an examination of Britishness. Split the crowd but that's what happens when you make bold choices. 

7. Black Bag

Super slick spy caper with a ridiculously accomplished (and good looking) cast. Espionage is the name of the game as opaque loyalties and tense chats take centre stage in place of action. Whether you like all his films or not, Steven Soderbergh really knows how to make movies, and this an endlessly watchable, ninety minute, slice of a genre we hardly see any more and pretty much never see done this meticulously. 

6. We Live in Time

A24 gives romance the elevated shine it has been giving to horror for some time now in this tale of boy meets girl, boy and girl have a kid, girl gets cancer. What could have been a standard heart string tugger is elevated by fantastic central performances from Florence Pugh and Andrew Garfield and a told out of sync narrative device that mimics the way we remember lost loved ones. Aggressively middle class but it works for the story.

5. The Surfer

Psychedelic, psychological thriller set entirely on a beach and adjoining car park with Nic Cage potentially losing his mind as he comes under threat from some beach thugs and the blistering Australian sunshine. Cage is a genre unto himself, seemingly creating fascinating films simply by existing and this atmospheric and unnerving flirt with insanity is one of his best. Features the most disgusting water fountain you'll ever see.

4. The Phoenician Scheme

A more character focused offering from Wes Anderson this time round, not that there isn't the usual galaxy of stars and astonishing set designs to admire. It's also ridiculously funny and indulges in some of the directors best world building, coming across like a modern Roald Dahl adventure. Some people find Anderson's films too similar but if anyone else could make films like this I'm sure they would.

3. Mickey 17

Bong Joon Ho cashes in his Oscar chips for this gloriously stuffed, hi concept space satire. It's a commentary on class and colonialism, a first contact movie, an observation of humanity and individuality and an absurd space comedy. The grimy industrial feel of the ship is fantastic and Robert Pattinson has an absolute blast as two, very different, clones. Even has Red Dwarf references, what more could you want?

2. Nosferatu 

A Nosferatu remake from Robert Eggers may be the most aimed at me film in the history of cinema and it doesn't disappoint. The attention to period detail would make Scorsese weep and every shot is a meticulous work of art. Some of the language, and Bill Skarsgard's guttural performance as the vampiric Count Orlok, may make it a little hard to follow for those not familiar with the Dracula story, but the sense of doom and disgust are palpable throughout. Seems Eggers can only make masterpieces.

1. Sinners

Genre bending, prohibition era period piece that morphs into a southern-gothic horror. Director Ryan Coogler creates a unique blend of culture, music, homage, insight and just plain coolness that has to be seen to be believed. A stellar cast, including Micheal B Jordan seamlessly depicting gangster turned juke joint owning twins, and an incredible soundtrack that almost turns the film into a musical cement its position as the best film of 2025 so far.