2025 in Cinema

Top 10 of the Year

1. Resurrection	Bi Gan
2. Magellan	Lav Diaz
3. The Phoenician Scheme	Wes Anderson
4. Train Dreams	Clint Bentley
5. No Other Choice	Park Chan-wook
6. Frankenstein	Guillermo del Toro
7. Sinners	Ryan Coogler
8. Ballad of a Small Player	Edward Berger
9. Bugonia	Yorgos Lanthimos
10. Hamnet	Chloé Zhao

There is a posed, photographic quality to Clint Bentley’s blocking in Train Dreams. He is heavily influenced by Terrence Malick, yet his photography diverges from that free-flowing style with these symmetrical shots, centre framing subjects as if studying them like historical artefacts.

Best Film – Resurrection

Many have cried “Cinema is dead” in the 2020s, and perhaps rightfully so. It often feels as though 2019 was the the last truly great year for the art form, and that the industry has been in the wilderness ever since, failing to produce any films that truly reach its upper echelons. Bi Gan’s response to such pessimism transcends mere nostalgia or blind hope. Resurrection adopts ancient Taoist and Buddhist philosophy in its meditation upon cinema’s death, guiding us through decades of Chinese and film history as envisioned by a dying monster, and locating him in a future where humanity has exchanged the ability to dream for immortality. It no doubt flows from the same visionary filmmaker who channelled Andrei Tarkovsky’s poetics in Kaili Blues and Long Day’s Journey into Night, though Bi’s shift away from evocations of personal memory to a broader collective consciousness is profoundly apparent.

Formally, Resurrection is also one of the most ambitious films ever made. It touches on silent cinema, film noir, folk storytelling, crime drama, and supernatural romance, constantly reinventing its visual language as decades slip by, yet cryptically tying each story into the broader framework of illusions, perception, and mortality. Its abstract set pieces are almost impossible to describe without visual reference, and the long, wandering take through city docks on New Year’s Eve may be the single greatest shot the decade so far. Bi’s metamodern autopsy of cinema may be formally elusive, yet by asserting itself as one of the medium’s most transcendent accomplishments in recent years, Resurrection majestically enacts the intersection of art and reality as a transient, bittersweet exchange.

Resurrection opens with a crowded cinema of faces peering back at us, and closes with a wax cinema melting by the light of its audience, profoundly bookending its delicate metaphor for dreams and art.

Most Underrated – Ballad of a Small Player

Neither this, Train Dreams, nor Frankenstein appear among the top 50 films of 2025 as determined by the TSPDT critical consensus, though Ballad of a Small Player received particularly severe backlash with a Metacritic score of 46. Still, it signals a dazzling step forward for Berger, sharpening his visual command following the bleak desolation of All Quiet on the Western Front and the procedural ascetism of Conclave. This is his most flamboyant, operatic work so far, and he approaches it with a razor-edged precision, plunging us into the gambling underworld of Macau where one disgraced high roller runs from past transgressions. The city’s gaudy excess shamelessly outdoes Las Vegas, bleeding city lights into a lurid wash of neon blues and toxic reds, yet even he recognises how damaging it is to the human soul. Western moralism and Eastern spirituality merge in this hyper-stylised study of compulsion and ruin, driving him to an endless consumption that will inevitably consume him too.

Ballad of a Small Player sells itself as a fast-paced gambling film, then reveals itself to be a haunting, spiritual meditation on greed, warping one man’s soul and plunging him into the depths of hell.

Most Overrated – The Mastermind

Kelly Reichardt’s subdued portrait of pride and self-delusion does not quite warrant its #2 placement among TSPDT’s ranking of 2025 films. Reichardt’s more uninteresting compositions struggle to justify their onscreen duration, leaving the free jazz score to carry much of the film’s cool, noir-inflected atmosphere, but her visual storytelling is at least rigorous as we observe Josh O’Connor’s narcissistic art thief slyly calculate rooms and relationships. Vietnam War news reports, recruitment posters, and Nixon-era rhetoric are dotted through The Mastermind, and although J.B. Mooney rarely engages with this political reality, his detachment becomes its own statement on apathy in the face of historical reckoning. Under Reichardt’s sobered realism, no one truly opts out of social consequence – least of all those who maintain an air of aloof indifference.

Reichardt’s inclination toward long, static shots embeds an observational minimalism within The Mastermind’s structure, slowing its pacing down to a crawl and stripping its heist of momentum and urgency.

Best Directorial Debut – Opus

Emerging from the world of upmarket lifestyle journalism, Mark Anthony Green intimately understands curated cultural prestige and its insidious machinations, situating Opus in a lineage of recent films that trap naïve outsiders within cultlike communities. Here, celebrities and reporters are bound to each other in a parasitic co-dependency, feeding on the same curated controversies which spur engagement and reproduce as a cultural corrosion. Green’s vibrant world is richly textured in its design, visually manifesting the hierarchical duality which lies at the heart of its central pop star’s elitist philosophy – red representing a performative aristocracy, while blue is reserved for commoners. Opus may not be the most formally assured debut of the year, especially with Sorry, Baby in contention, but its sheer confidence of vision marks it as the boldest.

Rarely does Moretti present himself without theatrical excess in Opus, rather sporting maroon velvet jackets, regal dinner robes, or bizarre spaceman costumes as part of avant-garde performances – a stark visual difference to the denim uniforms worn by his followers. There, blue is the colour of the commoner, and Green deploys it with symbolic rigour and vibrant chromatic contrast in his production design.

Gem to Spotlight – Weapons

Following on from his debut Barbarian in 2022, Zach Cregger once again exposes the terrors hidden beneath America’s suburban façade in Weapons, though this time he offers a far more confident, distinctive voice that makes his career ahead all the more exciting. What begins as a suburban mystery concerning seventeen missing school students eventually transforms into a twisted fairytale, splitting its narrative structure into six pieces that reflect various perspectives – the bewildered teacher, the bereaved parent, the unassuming principal, the feckless police officer, the homeless witness, and the single, surviving child from the decimated class. Each segment offers answers to questions raised in others, though due to their non-linear arrangement, it is the act of piecing them together which reveals the full scope of this collective nightmare. Unlike so many other contemporary horror films, Weapons cannot be pinned down to a straightforward allegory, yet its disquieting, fractured storytelling makes it a remarkably fresh entry into the genre.

Zach Cregger crafts some of the most haunting images in recent years in Weapons, beginning with the eerie shots of children running silhouetted through suburban streets at night, arms outstretched.

Best Male Performance – Jacob Elordi in Frankenstein

2025 is loaded with excellent male performances, though a few stand above the rest. In Frankenstein, Jacob Elordi proves that he has thoroughly moved on from The Kissing Booth movies, carving out a career of eccentric reinvention. Far from the hulking, moaning brute that was Boris Karloff’s portrayal of the Creature, his is a pale, sinewy patchwork of parts, clumsily stumbling through a hostile world with a primal vulnerability. He depicts the full life cycle of this tragic outcast from trembling infancy to an inevitable loss of innocence, and is quick to learn the cutthroat hostility of a world that preys on weakness. Elordi’s voice emerges in a deep, resonant stutter as he learns to speak, and eventually breaks into a guttural roar when overcome with rage – this is undoubtedly a role of remarkable transformation.

Timothee Chalamet in Marty Supreme and Michael B. Jordan in Sinners are also worth shouting out here. Marty Mauser is perhaps Chalamet’s prickliest character, and he holds the film’s whirlwind drama together with discomfortingly captivating charisma and emotional volatility. We love to watch him fall down over and over due to his own hubris, yet we can’t help find a sliver of sympathy in his unbridled ambition. Meanwhile, Jordan’s dual roles as twins Smoke and Stack draw a clean but uneasy divide, reflecting hostility and grief in each other like dark, distorting mirrors.

Actor	Film
1. Jacob Elordi	Frankenstein
2. Timothee Chalamet	Marty Supreme
3. Michael B. Jordan	Sinners
4. Sean Penn	One Battle After Another
5. Jesse Plemons	Bugonia
6. Lee Byung-hun	No Other Choice
7. Colin Farrell	Ballad of a Small Player
8. Wagner Moura	The Secret Agent
9. Paul Mescal	Hamnet
10. George Clooney	Jay Kelly
11. Joel Edgerton	Train Dreams
12. Owen Cooper	Adolescence
13. Gael Garcia Bernal	Magellan
14. Bojtorján Barabas	Orphan
15. Benicio del Toro	The Phoenician Scheme
16. Jackson Yee	Resurrection

Elordi is unrecognisable as Frankenstein’s monster, reinventing the character image established in the 1931 monster movie with his deep, guttural voice and lean physique.

Best Female Performance – Jessie Buckley in Hamnet

Unfortunately, the outstanding female performances this year are far scarcer than the men, and interestingly enough the top three concern struggling mothers. Although Hamnet is about the writing of Hamlet, Jessie Buckley is the most consistent onscreen presence here, navigating a similar grief as her husband William Shakespeare while filtering it through an entirely different perspective. She shoulders that solitude with aching vulnerability, grounding it in a maternal instinct so profound that the death of her son feels as though it extinguishes part of herself too.

Film	Actress
1. Hamnet	Jessie Buckley
2. If I Had Legs I’d Kick You	Rose Byrne
3. Die My Love	Jennifer Lawrence
4. Bugonia	Emma Stone
5. The Phoenician Scheme	Mia Threapleton

Jessie Buckley embodies a mother’s grief as the emotional centre of Hamnet, as well as the lonely bitterness that emerges from it and is directed toward her husband.

Best Cinematography – Resurrection

Dong Jingsong’s cinematography in Resurrection constantly reinvents its visual language across multiple dreamscapes, from expressionist tableaux to sunlit naturalism. He privileges texture and sensation over continuity, using tracking shots and shifting colour palettes to destabilise time, while immersing us in his self-contained worlds. Of course, the peak of this arrives with the long take that traverses neon-drenched docks and nightclubs in New Year’s Eve, 1999. Here, the angry red wash illuminates this littered waterfront gradually gives way to the soothing blue light of dawn, softly diffusing the unbroken, tactile immersion of Bi’s forty-minute tracking shot into a state of melancholic reflection.

Film	Cinematographer
1. Resurrection	Dong Jingsong
2. Magellan	Lav Diaz, Artur Tort
3. The Phoenician Scheme	Bruno Delbonnel
4. Train Dreams	Adolpho Veloso
5. Frankenstein	Dan Laustsen
6. Ballad of a Small Player	James Friend
7. No Other Choice	Kim Woo-hyung
8. Sinners	Autumn Durald Arkapaw
9. Avatar: Fire and Ash	Russell Carpenter
10. Bugonia	Robbie Ryan
11. Hamnet	Łukasz Żal
12. Orphan	Mátyás Erdély
13. 28 Years Later	Anthony Dod Mantle
14. The Secret Agent	Evgenia Alexandrova
15. Adolescence	Matthew Lewis
16. Die My Love	Seamus McGarvey
17. Marty Supreme	Darius Khondji
18. Jay Kelly	Linus Sandgren

This extended long take through Chinese alleys, nightclubs, and dockyards is surely the greatest shot of the decade, its aggressive red lighting eventually giving way to the natural light of dawn.

Best Editing – No Other Choice

No Other Choice is built on its fluid yet unconventional editing rhythms, orchestrating narrative flow through creative scene transitions, graphic match cuts, and flashbacks, while vividly manifesting Man-su’s unsettled subconscious through an elegantly disorienting use of double exposure effects. These blended shots surface his deepest disturbances as he digs a grave, superimposing the image of Mi-ri rolling in bed as if stirred by his shovel, while elsewhere a fake job ad he places in a magazine playfully frames him speaking directly to camera.

Film	Editor
1. No Other Choice	Kim Sang-bum
2. 28 Years Later	Jon Harris
3. Resurrection	Bi Gan, Bai Xue
4. Marty Supreme	Ronald Bronstein, Josh Safdie
5. Train Dreams	Parker Laramie
6. Ballad of a Small Player	Nick Emerson
7. Sinners	Michael P. Shawver
8. Die My Love	Toni Froschhammer
9. Bugonia	Yorgos Mavropsaridis
10. One Battle After Another	Andy Jurgensen
11. The Secret Agent	Eduardo Serrano, Matheus Farias
12. Avatar: Fire and Ash	Stephen E. Rivkin, David Brenner, Nicolas de Toth, John Refoua, Jason Gaudio, James Cameron
13. The Phoenician Scheme	Barney Pilling
14. Jay Kelly	Valerio Bonelli, Rachel Durance
15. Hamnet	Chloé Zhao, Affonso Gonçalves

Park Chan-wook undercuts Man-su’s murderous schemes through well-placed visual gags, dribbling water from a pot plant onto his head as he prepares to drop it on his victim, all while building tension in the carefully paced editing between unsuspecting victim and perpetrator.

Best Screenplay – One Battle After Another

One Battle After Another is undoubtedly Paul Thomas Anderson’s most crowd-pleasing work since Boogie Nights, shifting the focus away from psychologically complex characters and towards a captivating narrative that keeps rolling with frictionless ease. The almost three-hour run time breezes by on the momentum of his screenplay which, true to the title, perpetually throws obstacles at former revolutionary Bob Ferguson in his efforts to rescue his kidnapped daughter. It is a stunning, effortless achievement of tonal balance, particularly with an ensemble this huge and stakes this volatile.

Film	Screenwriter
1. One Battle After Another	Paul Thomas Anderson
2. No Other Choice	Park Chan-wook, Don McKellar, Lee Kyoung-mi, Lee Ja-hye
3. Marty Supreme	Ronald Bronstein, Josh Safdie
4. Sinners	Ryan Coogler
5. Bugonia	Will Tracy
6. Jay Kelly	Noah Baumbach, Emily Mortimer
7. The Phoenician Scheme	Wes Anderson
8. The Secret Agent	Kleber Mendonça Filho
9. Adolescence	Jack Thorne, Stephen Graham
10. Weapons	Zach Cregger
11. Train Dreams	Clint Bentley, Greg Kwedar

One Battle After Another is perhaps one of the smoothest narratives in recent years, and that is no small feat for one that is also so complex, uniting a large ensemble of characters and moving parts behind its driving momentum.

Best Original Music Score – Sinners

Music is a supernatural force capable of piercing the veil between life and death in Sinners, so there is much resting on Ludwig Göransson’s adventurous, genre-defying score. Tension rises in the smouldering blues instrumentations of the first hour, before sprawling into a genre-spanning fusion of rock, hip-hop, bluegrass, and global traditions, collectively celebrating Black musical expression across time.

Film	Composer
1. Sinners	Ludwig Göransson
2. One Battle After Another	Jonny Greenwood
3. Marty Supreme	Daniel Lopatin
4. Bugonia	Jerskin Fendrix
5. Ballad of a Small Player	Volker Bertelmann
6. Resurrection	M83
7. Hamnet	Max Richter
8. Frankenstein	Alexandre Desplat
9. Train Dreams	Bryce Dessner
10. Jay Kelly	Nicholas Britell
11. No Other Choice	Jo Yeong-wook
12. Avatar: Fire and Ash	Simon Franglen
13. The Phoenician Scheme	Alexandre Desplat
14. Weapons	Ryan Holladay, Hays Holladay, Zach Cregger
15. The Secret Agent	Tomaz Alves Souza, Mateus Alves

Ludwig Göransson fuses raw Delta blues guitar with heavy rock and orchestral swells in Sinners, making for a thunderous, blues-soaked triumph upon which the rest of the film rests.

Year Breakdown

Perhaps the greatest unifying trend of 2025 is the reanimation of horror icons – not so much reinventing their mythologies than refreshing familiar monsters with sharper psychology and aesthetic textures. Guillermo del Toro resists subversion in his sweeping adaptation of Frankenstein, rather leaning into its tragic romanticism, while Zach Cregger hides a witch at the centre of Weapons’ supernatural mystery and demonstrates a marked evolution in his command of narrative structure. Even Danny Boyle’s return to his post-apocalyptic zombie world in 28 Years Later reconsiders the infected as a new species unto themselves, with rituals, family units, and social hierarchies giving shape to their otherwise chaotic existence.

Most notable of all though is the creative deployment of vampires in Sinners, playing by the usual rules that they cannot enter an establishment without invitation, and then turning that social contract into a metaphor for racial and cultural assimilation. This film elevates Ryan Coogler to a new level of auteur, as he brings his typically gorgeous lighting and floating camerawork to a blues-soaked, Southern gothic mode. To a lesser extent, this vampire imagery is also abstractly echoed in Resurrection, as Bi Gan philosophically considers the relationship between the mortal and immortal – though more significantly, his breathtaking meditation on cinema as a medium in perpetual reinvention outstrips almost every other film of 2025 by a wide margin.

Green and red hues weave through Guillermo del Toro’s sets as we settle into Frankenstein’s laboratory – a tremendous set piece defined by its oversized elements, crane shots, and dynamic lighting.

Danny Boyle’s passion bleeds from his craftsmanship, building upon the gritty kineticism of the digital camcorders he experimented with in 28 Days Later, and now using iPhones as the main tool to recapture that raw immediacy in 28 Years Later.

Ryan Coogler composes a Cain and Abel fable set in rural America with Sinners, establishing virtue and corruption as equals, and tragically setting them against each other.

The main exception here is Magellan, Lav Diaz’s rigorous deconstruction of the titular Portuguese explorer’s imperial conquest. This epic is a rigidly formal exercise in historical interrogation, stripping its protagonist of whatever heroism may be attached to his name, and suspending him in an exhausted, existential drift. More than simply draining this maritime expedition of dramatic momentum, Diaz’s long takes diminish Magellan’s commanding presence, languishing in meticulously composed tableaux filtered through an austere, postcolonial lens.

A wondrous use of a breathtaking piece of architecture in Magellan – Belem Tower looms tall at magic hour, diminishing those who stand beneath its awe-inspiring presence.

Besides a small win at Cannes Film Festival for Resurrection, both Bi and Diaz are unfortunately overlooked across awards season. Instead, Jafar Panahi clinches the Palme d’Or for his sharp indictment of Iranian state power in It Was Just an Accident, while Paul Thomas Anderson finally earns the Academy’s long-overdue recognition by winning Best Picture for One Battle After Another.

The first 40 minutes or so of One Battle After Another are sublime, introducing the detailed backstories of the core characters through what is essentially an extended montage that barely pauses for a second.

A more insidious side of the Na’vi is revealed in Avatar: Fire and Ash, and Varang makes for a particularly menacing villain, twisting that which is sacred to serve her own power.

If the Spider-Verse series marked the beginning of Sony Animation’s visual renaissance, then KPop Demon Hunters is evidence of its total cultural domination, drawing from anime to infuse every frame with a graphic, hyper-stylised intensity.

At the box office, it isn’t F1, Superman, or even Avatar: Fire and Ash that comes out on top. Chinese animation Ne Zha 2 has remarkably become the fifth highest grossing film of all time, driven overwhelmingly by massive domestic demand in the Chinese market. If we’re talking pure cultural domination though, it is hard to look past the streaming sensation of KPop Demon Hunters, which has become the most viewed film on Netflix and crosses Korean culture over into a fully globalised, pop cultural vernacular.

An overhead shot so perfect in The Phoenician Scheme that Anderson hangs on it for the opening credits and returns to it again later – the sheer, minimalist precision is astounding.

Much of Bugonia is spent in a conspiracy theorist’s basement, yet Lanthimos makes it a starkly beautiful set piece in its harsh, tungsten glow and diseased warmth.

At this point in Wes Anderson, Park Chan-wook, and Yorgos Lanthimos’ careers, it almost goes without saying that they each continue their tremendous runs, so it’s worth spending just a little longer marvelling at the healthy crop of more fresh-faced directors continuing their upward trajectories in 2025. Chloé Zhao solidifies her growing stature with Hamnet, László Nemes probes deeper into 20^th century Hungarian history in Orphan, and now that Edward Berger has established himself with two relatively conventional awards season contenders, he exercises a more brazen style with Ballad of a Small Player. Clint Bentley is the unexpected name to watch here though – the formal brilliance of Train Dreams seems to have come out from nowhere, offering a lyrical, melancholy meditation on humanity’s surrender to time.

Wonderfully shallow focus through long lenses in Orphan, melting backgrounds into a shallow depth of field while faces are captured with sharp precision – László Nemes mastered the art of the subjective camera in his debut, and has maintained it ever since.

Josh Safdie sits comfortably among this class of thriving auteurs, though his career takes a particularly interesting turn in 2025 as he splits with his brother Benny Safdie. Both respectively pursue sports films through Marty Supreme and The Smashing Machine, but the disparity in quality reveals who was always the primary creative force. Marty Supreme is the superior achievement on every level, and even finds a natural companion piece this year in If I Had Legs I’d Kick You, which feels deeply indebted to Safdie’s anxiety-ridden character studies. It’s no surprise that it is directed by Mary Bronstein, who is married to Safdie’s long-time co-writer and editor. This creative circle is flourishing, and its formal obsessions continue to ripple outward through independent cinema.

Long lenses and handheld cameras chase Marty through New York City as he evades polices offices and gangsters alike. Thanks to Safdie’s 35mm film stock as well, the cinematography is imbued with a graininess that would be right at home in the 1970s and 80s.

While Josh Safdie pursues a far more kinetic, distinctive vision of sporting struggle in Marty Supreme, Benny Safdie retreats to a familiar rise-and-fall arc in The Smashing Machine, offering a gritty window into the physical and psychological toll of early MMA.

If I Had Legs I’d Kick You possesses smaller scale narrative than the Safdies’ films, yet this does not diminish its acute, psychological drama. The persistent close-ups on Rose Byrne’s exhausted face as she juggles multiple crises only heightens its claustrophobic intensity, underscoring the unbearable shame and responsibility that saturates mundane anxieties.

Film Archives

Film	Director	Grade
28 Years Later	Danny Boyle	HR
A Big Bold Beautiful Journey	Kogonada	R/HR
Adolescence	Philip Barantini	HR
Avatar: Fire and Ash	James Cameron	HR
Ballad of a Small Player	Edward Berger	MS
Ballerina	Len Wiseman	R/HR
Black Bag	Steven Soderbergh	R
Blue Moon	Richard Linklater	R
Bring Her Back	Danny and Michael Philippou	R
Bugonia	Yorgos Lanthimos	MS
Caught Stealing	Darren Aronofsky	R
Die My Love	Lynne Ramsay	HR
Eddington	Ari Aster	R
F1	Joseph Kosinski	R
Eternity	David Freyne	R
Frankenstein	Guillermo del Toro	MS
Hamnet	Chloé Zhao	HR/MS
If I Had Legs I’d Kick You	Mary Bronstein	R/HR
It Was Just an Accident	Jafar Panahi	R
Jay Kelly	Noah Baumbach	HR/MS
KPop Demon Hunters	Maggie Kang, Chris Appelhans	R
Little Amélie or the Character of Rain	Maïlys Vallade, Liane-Cho Han	R
Magellan	Lav Diaz	MP
Marty Supreme	Josh Safdie	HR/MS
Materialists	Celine Song	R
Mickey 17	Bong Joon-ho	R
Mission: Impossible – The Final Reckoning	Christopher McQuarrie	R
Ne Zha 2	Jiaozi	R
No Other Choice	Park Chan-wook	MS
Nouvelle Vague	Richard Linklater	R
One Battle After Another	Paul Thomas Anderson	HR
Opus	Mark Anthony Green	R
Orphan	László Nemes	HR/MS
Predator: Killer of Killers	Dan Trachtenberg	R
Resurrection	Bi Gan	MP
Sentimental Value	Joachim Trier	R
Sinners	Ryan Coogler	MS
Sirāt	Óliver Laxe	R
Sorry, Baby	Eva Victor	R
Steve	Tim Mielants	R
Superman	James Gunn	R
The Mastermind	Kelly Reichardt	R
The Phoenician Scheme	Wes Anderson	MS
The Roses	Jay Roach	R
The Running Man	Edgar Wright	R
The Secret Agent	Kleber Mendonça Filho	HR
The Smashing Machine	Benny Safdie	R
The Voice of Hind Rajab	Kaouther Ben Hania	R
Thunderbolts	Jake Schreier	R
Train Dreams	Clint Bentley	MS
Wake Up Dead Man	Rian Johnson	R
Warfare	Ray Mendoza, Alex Garland	R
Weapons	Zach Cregger	HR
Wicked: For Good	Jon M. Chu	R

Four snapshots across thirteen months are all that Philip Barantini needs to uncover the humanity in the horror of Adolescence, and most crucially of all, the ‘one shot per episode’ conceit immerses us into his harrowing study of modern-day masculinity.

Wow, this might honestly be your best post ever in the "blank in Cinema" category. Really hope I can get…

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dom

May 15, 2026 at 12:42 pm

Wow, this might honestly be your best post ever in the “blank in Cinema” category. Really hope I can get a chance to watch most of these as I only watched a a good chunk from this year: 28 Years, Ballad, Blue Moon, Bugonia, Captain America (out of the ones I’ve watched, this is an easy P) one of the DreamWorks movies (think it was Dog Man), Fantastic Four, Frankenstein, Hamnet, Jay Kelly, Mickey 17, Sinners, Thunderbolts (nice to see it being archived) Train Dreams, and Wake Up Dead Man.