Alistair Ryder's Best 10 Movies of 2025

Alistair Ryder's Best 10 Movies of 2025

      Following The Film Stage’s compilation of the top 50 films of 2025, our contributors are now sharing their individual top 10 selections as part of our year-end reflections.

      Every year, it seems like I begin my end-of-year recap by mourning the state of cinema or film criticism, or possibly both. There are certainly valid reasons for this pessimism; we’ve all heard about corporate mergers that threaten to eliminate theaters completely, and if you’ve engaged with social media, you’re likely aware that critics are once again being deemed irrelevant by the public, often for the trivial reason of not including certain films in their top 10 lists. The same narrative continues year after year.

      While 2025 may not be viewed as a banner year for cinema, there are more tangible signs that the art form is thriving like never before, beneath the bleak predictions of its extinction. The film stirring up online controversy for not being labeled among the year’s best is a genre-defying vampire period drama that isn’t dilute by studio meddling or audience tests. Its parent studio, currently considering alliances with dubious partners, seems to have noticed the risk-averse tendencies of their competitors and has decided to back unconventional filmmakers with blockbuster budgets—a risky move that has yielded some of the finest studio films in years. At first glance, it appears less like Hollywood's final bow and more like an extraordinary wave of creativity in American cinema, a sentiment further supported by the wealth of outstanding work from independent studios. And that's just one country. Though we often poke fun at NEON and MUBI for acquiring rights to every festival film, this strategy has led to end-of-year prestige seasons that no longer feel like a chore; the "awards bait" films that usually clutter the last quarter of the year are gradually being overshadowed by exciting international cinema that won’t simply vanish from discussions after the Oscars.

      The films that are receiving accolades are better than ever, which means that those that unfortunately get overlooked are also improving; you’ll find examples of both types below. Despite the efforts of David Zaslav and Ted Sarandos, there are plenty of reasons to look forward to the future of filmmaking—it feels increasingly like a modern New Hollywood movement may already be underway, playing out right under our noses while we focus on negative headlines. If you disagree with me and consider my optimism naive, allow me to present 15 reasons to reconsider.

      Honorable mentions: Black Bag, Bring Her Back, Cloud, It Was Just an Accident, The Secret Agent

      10. The Mastermind (Kelly Reichardt)

      Kelly Reichardt excels at creating “anti”-genre films. After previously subverting western and thriller conventions, she returns to the heightened world of the thriller following several gentler character studies to present her unique take on an art gallery heist. Renowned for her meticulous storytelling, Reichardt subverted expectations—much to the dismay of many AMC Screen Unseen viewers unfamiliar with her style—by portraying Josh O’Connor’s aimless protagonist as lacking any grand plan, improvising his escape strategy with no sense of urgency. Set against the backdrop of Vietnam War protests, her immersive period piece offers topical relevance through the lens of a clueless con artist disconnected from a moment of significant cultural upheaval. However, on a comedic level, it resonates even more powerfully as Reichardt’s most straightforward comedy, culminating in a wonderfully cruel punchline.

      9. Blue Moon (Richard Linklater)

      Richard Linklater has gifted us two disparate portraits of brilliant yet unbearable artists this year, and while I was charmed by Nouvelle Vague, I felt it didn’t escape the labels of cinephile fan fiction. Perhaps it’s my lack of personal connection to the works of Hart and Rogers that I couldn’t overlook the creeping biopic clichés in Blue Moon, although it remains largely in sync with Linklater’s signature shaggy-dog hangout style. More likely, it’s because Ethan Hawke’s commanding performance is indisputable—akin to Lorenz Hart’s lasting influence on Broadway’s evolution—that this gentle character study feels like a 1970s New Hollywood thriller featuring a confrontational figure reconciling with the consequences of their past choices. 2025 has offered its share of anxiety-inducing cinema; this is the most surprising addition to that collection.

      8. Happyend (Neo Sora)

      We’re currently experiencing what must be a uniquely challenging time to be a teenager, yet few coming-of-age films adequately confront the realities of growing up in a mundane dystopia. Director Neo Sora’s Happyend unfolds in a near-future Tokyo, strikingly similar to the present, as it explores how a group of friends gradually drifts apart during their final high school year after a misguided prank results in increased bureaucracy in their lives. It extends from an authoritarian government, subtly present in background news coverage, yet felt deeply without excessive exposition—their growing alienation conveys everything necessary. I wouldn’t be surprised if this film is later

Alistair Ryder's Best 10 Movies of 2025 Alistair Ryder's Best 10 Movies of 2025 Alistair Ryder's Best 10 Movies of 2025 Alistair Ryder's Best 10 Movies of 2025 Alistair Ryder's Best 10 Movies of 2025 Alistair Ryder's Best 10 Movies of 2025 Alistair Ryder's Best 10 Movies of 2025 Alistair Ryder's Best 10 Movies of 2025

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If there’s a counterpoint to the purported decline of the music press, it is the significant surge in the popularity of music books. When CLASH was in its early years—around the turn of the Millennium—bookstores typically featured no more than half a dozen music titles, mainly focusing on The Beatles, The Stones, and Queen. Fast forward about twenty years, and the landscape has vastly broadened, allowing even niche artists like Felt's Lawrence to be the focus of best-selling biographies. These publications are in print, convey long-form narratives, and pack an impact. What else are those shelves but an extension of the music press? CLASH compiles the 10 best music books we've encountered in 2025. — Keith Cameron – 168 Songs of Hatred and Failure As the title indicates, Cameron’s book is structured around nearly half of the Manic Street Preachers’ catalog throughout their 35-year journey, offering concise and thoughtful entries supplemented by insights from Nicky Wire and James Dean Bradfield. It steers clear of idealizing the band, pointing out misses like the lackluster studio version of ‘Methadone Pretty’ and ‘flimsy’ lyrics in ‘There by the Grace of God.’ The behind-the-scenes perspectives are the real highlight for both devoted and casual fans: anxieties over charts, responses to press criticism, and the unexpected origins of particular tracks. The meticulous care put into the book is evident, rewarding dedicated fans with explorations of demos, B-sides, and lesser-known tracks, while Cameron’s sharp writing and candid reflections from the band craft a vibrant narrative of continual reinvention for one of Britain’s enduring rock ensembles. Richard Bowes — Billy Bragg & Iain Key – A People’s History Instead of a conventional autobiography, ‘A People’s History’ provides a vivid, chronological depiction of Bragg’s life, intertwining 700 fan recollections with insights from friends, collaborators, and Bragg himself. It charts his evolution from punk beginnings with Riff Raff, through his political awakening in the 1980s, Red Wedge activism, and decades of impactful songwriting. The text is enriched with photographs, memorabilia, and a gigography, while anecdotes capture the humor, humility, and grounded essence that characterize The Bard of Barking. For fans of Bragg’s politics, the array of stories delivers a shared history reflecting his lasting influence on music and politics worldwide, showcasing a life shaped by conviction, community, and an unwavering sense of purpose. Richard Bowes — Mike Joyce – The Drums With Andy Rourke’s recent passing and the prospect of a reunion becoming increasingly unlikely, The Smiths are taking on an even more legendary status. We’ve heard from the iconic guitarist and the less-celebrated singer and lyricist, making Joyce’s narrative a compelling read. In his account, Joyce confesses to being the band’s biggest fan, and his enthusiasm shines through the pages. He avoids rehashing the infamous court case, opting instead to celebrate the band’s creativity from 1983 to 1987. Anecdotes and humor depict the emotional realities of life within the band, all conveyed with the honesty of a devoted fan. The stories of their experiences remain captivating. Richard Bowes — Stuart Maconie – With A Little Help From Their Friends There has been no shortage of literature on The Fab Four throughout the years. What distinguishes Stuart Maconie's comprehensive entry is the emphasis on both intimate and peripheral figures in the band’s narrative. From family members to rival musicians and friends who came and went, it illustrates that more than just Paul, John, George, and Ringo shaped The Beatles and their world-conquering success. It’s a fast-paced, humorous read that, instead of resembling another book about the quartet, provides genuinely fresh insights. Chris Connor — Cameron Crowe – The Uncool Before becoming an Oscar-winning director known for films like Jerry Maguire, Singles, and Almost Famous, Cameron Crowe was among the youngest writers at Rolling Stone magazine, interviewing a variety of stars in the 1970s. Almost Famous beautifully captured this through his journey with the fictional band Stillwater. In reality, Crowe hit the road with The Allman Brothers and Led Zeppelin, sharing his experiences as a journalist in his memoir, The Uncool. It reads almost like a fictionalized version of the film, filled with amusing anecdotes often featuring familiar names. Highlights include an interview with the Eagles before their rise to fame and Crowe following Bowie around LA during his transition away from Ziggy Stardust. Chris Connor — Robbie Robertson – Insomnia Best known as the guitarist and central figure of The Band, Robbie Robertson also had a successful partnership with the famed director Martin Scorsese. His posthumous memoir, Insomnia, delves into their brotherly bond and chaotic lifestyle while living together. It mainly chronicles If there’s a counterpoint to the purported decline of the music press, it is the significant surge in the popularity of music books. When CLASH was in its early years—around the turn of the Millennium—bookstores typically featured no more than half a dozen music titles, mainly focusing on The Beatles, The Stones, and Queen. Fast forward about twenty years, and the landscape has vastly broadened, allowing even niche artists like Felt's Lawrence to be the focus of best-selling biographies. These publications are in print, convey long-form narratives, and pack an impact. What else are those shelves but an extension of the music press? CLASH compiles the 10 best music books we've encountered in 2025. — Keith Cameron – 168 Songs of Hatred and Failure As the title indicates, Cameron’s book is structured around nearly half of the Manic Street Preachers’ catalog throughout their 35-year journey, offering concise and thoughtful entries supplemented by insights from Nicky Wire and James Dean Bradfield. It steers clear of idealizing the band, pointing out misses like the lackluster studio version of ‘Methadone Pretty’ and ‘flimsy’ lyrics in ‘There by the Grace of God.’ The behind-the-scenes perspectives are the real highlight for both devoted and casual fans: anxieties over charts, responses to press criticism, and the unexpected origins of particular tracks. The meticulous care put into the book is evident, rewarding dedicated fans with explorations of demos, B-sides, and lesser-known tracks, while Cameron’s sharp writing and candid reflections from the band craft a vibrant narrative of continual reinvention for one of Britain’s enduring rock ensembles. Richard Bowes — Billy Bragg & Iain Key – A People’s History Instead of a conventional autobiography, ‘A People’s History’ provides a vivid, chronological depiction of Bragg’s life, intertwining 700 fan recollections with insights from friends, collaborators, and Bragg himself. It charts his evolution from punk beginnings with Riff Raff, through his political awakening in the 1980s, Red Wedge activism, and decades of impactful songwriting. The text is enriched with photographs, memorabilia, and a gigography, while anecdotes capture the humor, humility, and grounded essence that characterize The Bard of Barking. For fans of Bragg’s politics, the array of stories delivers a shared history reflecting his lasting influence on music and politics worldwide, showcasing a life shaped by conviction, community, and an unwavering sense of purpose. Richard Bowes — Mike Joyce – The Drums With Andy Rourke’s recent passing and the prospect of a reunion becoming increasingly unlikely, The Smiths are taking on an even more legendary status. We’ve heard from the iconic guitarist and the less-celebrated singer and lyricist, making Joyce’s narrative a compelling read. In his account, Joyce confesses to being the band’s biggest fan, and his enthusiasm shines through the pages. He avoids rehashing the infamous court case, opting instead to celebrate the band’s creativity from 1983 to 1987. Anecdotes and humor depict the emotional realities of life within the band, all conveyed with the honesty of a devoted fan. The stories of their experiences remain captivating. Richard Bowes — Stuart Maconie – With A Little Help From Their Friends There has been no shortage of literature on The Fab Four throughout the years. What distinguishes Stuart Maconie's comprehensive entry is the emphasis on both intimate and peripheral figures in the band’s narrative. From family members to rival musicians and friends who came and went, it illustrates that more than just Paul, John, George, and Ringo shaped The Beatles and their world-conquering success. It’s a fast-paced, humorous read that, instead of resembling another book about the quartet, provides genuinely fresh insights. Chris Connor — Cameron Crowe – The Uncool Before becoming an Oscar-winning director known for films like Jerry Maguire, Singles, and Almost Famous, Cameron Crowe was among the youngest writers at Rolling Stone magazine, interviewing a variety of stars in the 1970s. Almost Famous beautifully captured this through his journey with the fictional band Stillwater. In reality, Crowe hit the road with The Allman Brothers and Led Zeppelin, sharing his experiences as a journalist in his memoir, The Uncool. It reads almost like a fictionalized version of the film, filled with amusing anecdotes often featuring familiar names. Highlights include an interview with the Eagles before their rise to fame and Crowe following Bowie around LA during his transition away from Ziggy Stardust. Chris Connor — Robbie Robertson – Insomnia Best known as the guitarist and central figure of The Band, Robbie Robertson also had a successful partnership with the famed director Martin Scorsese. His posthumous memoir, Insomnia, delves into their brotherly bond and chaotic lifestyle while living together. It mainly chronicles Ranking at number 23 on our list of the 100 most-anticipated films of 2025, Christopher Nolan's grand project, The Odyssey, seems to be another significant venture in his career filled with such opportunities. Following exclusive theatrical previews, Universal Pictures has now shared the initial trailer online. Here’s a short synopsis: "Christopher Nolan’s

Alistair Ryder's Best 10 Movies of 2025

In conjunction with The Film Stage's aggregated list of the top 50 films of 2025, we're featuring our contributors' individual top 10 selections as part of our year-end review. It seems that in each end-of-year summary, I find myself expressing concern over the decline of cinema, film criticism, or even both. There are valid reasons to feel pessimistic about each; you are already aware of the