The major film studios are in a desperate spot, still not having recovered from the mass exodus to home viewing that began during the COVID-19 pandemic. Getting enough viewers to theaters to justify the huge budgets for tentpole movies has proven difficult. Once sure things, such as Marvel films or big-budget action movies, are no longer guarantees. For the most part, Disney animated features still deliver (the studio’s Zootopia has already passed the $1 billion mark internationally), but everything else is a crapshoot.
As a result, the studios are in trouble, none more so than Warner Brothers which, at this writing, is either going to be sold to Netflix or taken over with a hostile bid by Paramount Pictures. That the most dominate streaming service in the world is a player in this high-stakes game would have been unthinkable a couple years ago. However, the desire for content has prompted Netflix to enter the fray, competing not only with Paramount, but Comcast as well, which owns Universal Pictures. None of these suitors are ideal for consumers, as Netflix has never been keen on theatrical distribution, while Paramount or Comcast acquiring Warner Brothers would raise anti-trust concerns. No matter how this plays out, it will affect how many films are produced for theaters, the number likely going down dramatically.
As for this year’s movies, it was a mixed bag. None of the films on my top 10 list were from a major studio. While many other people were high on Warner Brothers’ Sinners and One Battle After Another, I hardly think they were worth the extreme accolades they’ve been accorded. That being said, those two films will likely be the big winners at the upcoming awards shows.
Thematically, a sense of fear and trepidation runs through the films that make up the following list. The tumultuous times we live in are reflected in so many of the current movies, an overwhelming sense of angst prevalent in both stories of a personal nature or those set on a grand scale. That there are so few comedies being made and released in theaters is telling.
Of course, I did not see every movie released this year – what with theatrical releases and premieres on a variety of streaming services, no one could. As such, lists such as these are far from comprehensive, though I did manage to see 175 new releases. This is simply a retrospective of my 365 days of viewing and those features that happened to rattle around in my mind long after the end credits rolled.
Sorry, Baby – Small acts of kindness buoy Eva Victor’s impressive debut, a subtleexamination of one woman’s attempt to overcome a personal trauma. Agnes (Victor) is a graduate student who endures, as she puts it, a “bad thing.” Sexually assaulted by a professor she admires, the young woman finds herself adrift, uncertain as to how to progress with her life or deal with others. The kindness of her best friend (Naomi Ackie), as well as strangers, help her find her bearings, though not without occasional setbacks. As director and writer, Victor manages to balance the inherent tragedy of Agnes’ situation with humor, while downplaying the horrific incident itself and focusing on her recovery. There’s a gentle, raw nature to the film that grounds it, making its message of healing with time and support all the more realistic and acceptable. The world may be oblivious to all that’s happened to Agnes, yet she will endure thanks to her friends and a stray cat she adopts, as well as the depths of strength she didn’t know she possessed. A true gem, this is the sort of small film that deserves to be sought out and appreciated. Currently streaming on HBO and Hulu. Available to rent on Amazon Prime.
Bugonia –Yorgos Lanthimos’ latest absurdist morality tale is a pointed examination of the nation’s loneliness epidemic and one damaged man’s efforts to right his many imagined grievances. Jesse Plemmons gives a deeply moving performance as Teddy, a lonely, paranoid man who’s convinced the CEO of a Fortune 500 company (Emma Stone) is an alien. He kidnaps her with the intention of holding her until a meeting can be arranged with the leaders of her race so that he can meet with them to thwart their efforts to destroy our planet. The reasons behind Teddy’s paranoia are tragic, his sense of alienation leaving him vulnerable to groups peddling conspiracy theories that exploit his sense of anger and loneliness. Ultimately moving and darkly ironic, Teddy is emblematic of so many living on the fringe today, impulsive in their actions, desperate to be heard. Available to rent on Amazon Prime.
A House of Dynamite –Kathryn Bigelow’s gripping cautionary tale imagines a doomsday scenario that’s terrifying in its plausibility. When a rogue nuclear missile is launched, the United States’ defense system takes steps to intercept it before it reaches middle America. They fail, prompting the upper levels of the government to take matters into their own hands. Bigelow and screenwriter Noah Oppenheim take the daring approach of going through the same scenario three times, each section from a different bureaucratic perspective as the filmmakers work up the chain of command. Utilizing a handheld camera and tight shots throughout, Bigelow creates a terrifying sense of immediacy that effectively drives home how perilously close to destruction we are. It’s sobering and unforgettable. Streaming on Netflix.
Train Dreams – Clint Bentley’s adaptation of Denis Johnson’s novella is a beautiful examination of an ordinary life, lived with quiet dignity and strength. Robert Grenier (Joel Edgerton) is a turn-of-the-century lumberjack who settles down with Gladys (Felicity Jones), a strong-willed woman with whom he builds a home and has a child. However, his life is upended when a tragedy befalls them, forcing Grenier to reevaluate his life and what the world has to offer him. Bentley and cinematographer Adolpho Veloso capture the majesty of the film’s Pacific Northwest setting, effectively conveying how our environment affects us in both positive and negative ways. Subtle in its approach, this is a film that proves haunting as you come to realize the quiet sense of bravery Grenier displays in dealing with his troubles. Streaming on Netflix.
Jay Kelly –Noah Baumbach pulls off the miraculous feat of making an international movie star relatable with this surprisingly moving character study. George Clooney takes on the title role, a beleaguered actor who realizes he’s prioritized his career over his personal life, ultimately to his peril. As he tries to reconnect with his teenage daughter (Grace Edwards) by following her across Europe, his entourage (Adam Sandler, Laura Dern and Emily Mortimer) in tow, he’s plagued by memories of missed opportunities and regrets. Surprisingly poignant, the film is driven by great performances from Clooney and Sandler, each of whom display a heretofore unseen sense of vulnerability that provides the film with an unexpected emotional resonance. Streaming on Netflix.
Hamnet – Chloe Zhao’s adaptation of Maggie O’Farrell’s novel is a speculative story concerning the circumstances surrounding the death of William and Agnes Shakespeare’s son, Hamnet, and their respective responses to the tragedy. A dissertation on grief and the healing nature of art, this is a sumptuously visual and thematic feast that immerses the viewer in late 16th century England, while Jessie Buckley delivers a sincerely moving performance. The film’s climax contains the most moving moment of the year, a cathartic experience that allows the viewer to empathize with Agnes’ grief and her first moments of healing. Currently in theaters.
Frankenstein – The film Guillermo del Toro was born to make, this version of the Mary Shelley classic expands on and modernizes her themes against the most sumptuous production design of the year. Oscar Isaac struts as a rock star Dr. Frankenstein and Jacob Elordi is heartbreaking as the infantile creature, the story of hubris told from each of their perspectives to create the most faithful adaptation of the novel. Epic in its emotional scope, the film has audaciousness to spare, Del Toro embracing the story’s gothic roots and taking them to glorious heights. There wasn’t a better-looking movie made this year, yet the performances and the film’s theme should not be ignored. This story of unchecked power and the consequences of not using it responsibly is more timely than ever. Streaming on Netflix.
Eddington –Ari Aster’s pointed social commentary is a messy film, one that fails to satisfactorily tie up all of its many plot strands. Yet, despite its faults, it’s hard to shake, primarily because no other filmmaker has had the nerve to look at our current social divide as unflinchingly as he does here. Joaquin Phoenix and Pedro Pascal play rivals with a troubled past who vie for the role of mayor in the titular town. Personal politics are employed to tragic effect as rumors, innuendo and outright lies are employed with no regard to the consequences. A Black Lives Matter activist group makes itself heard after a violent incident, all of this occurring during the COVID-19 outbreak. There are many pieces in play here, Aster pulling no punches in portraying the depths we’re capable of sinking to protect our own interests. That it seems overwhelming is the point, reflecting today’s information overload, which is impossible to keep up on and, at times, decipher. Currently streaming on HBO and Hulu. Available to rent on Amazon Prime.
Bob Trevino Likes This –Much like Sorry, Baby, Tracie Laymon’s semi-autobiographical film is about the power of acts of small kindness. Lily (Barbie Ferriera) is a lonely woman, alienated from her father, desperate to make some sort of genuine human connection. She accidently connects with a stranger (John Leguizamo) with the same name as her father through social media and an unexpected friendship begins, which benefits them both in ways neither anticipates. Moving without being maudlin, the genuine performances from the two leads gives the story a sense of warmth that results in a sincerely poignant conclusion. Laymon employs a deft touch, never overplaying the sentiment, delivering a powerful reminder of what a kind word or show of support can do. Currently streaming on HBO and Hulu. Available to rent on Amazon Prime.
Nuremburg –To be sure, James Vanderbilt’s historical drama is guilty of condensing and omitting some events, as so many fact-based films do, but that doesn’t negate how compelling this story is or its power. Rami Malek stars as psychiatrist Douglas Kelley, who was assigned to assess the mental health of the Nazi officers who were to stand trial for war crimes at Nuremburg. He begins to fall under the sway of the persuasive Herman Goring (Russell Crowe) and starts to see him in a more sympathetic light. As at the trial, we’re shown the films taken at the concentration camps when they were liberated, the shocking footage a bracing reminder of the consequences of not checking those leaders who would use their power for amoral purposes. Currently in theaters.
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Also of note – Stephen Soderbergh’s smart, deceptive spy thriller, Black Bag…Osgood Perkins’ darkly comic examination of the inevitability of death, The Monkey… The heartwarming true story of a bitter teacher’s redemption, The Penguin Lessons…The surprisingly moving tale of an empty-nester’s unlikely relationship with her daughter’s ex, Suze…Emilie Blichfeldt’s body horror take on the Cinderella story, The Ugly Stepsister…Rian Johnson’s pointed political critique, the closed room mystery Wake Up Deadman: A Knives Out Mystery.
Chuck Koplinski has written for Illinois Times since 1998 and is a member of the Critic’s Choice Association, the Chicago Film Critics Association and a contributor to Rotten Tomatoes. No matter what anyone says, he thinks Tom Cruise’s version of The Mummy is a woefully underrated film.
This article appears in January 08-14, 2026.
