I still can’t get over Sinners. It’s what the cinema was made for. It looked amazing; its sound was so rich and textured; and the juke joint dance sequence was a genuine WTF surprise that could have been grim but was utter genius. And if you haven’t seen it, please stay for the scene that comes mid-credits: it has to be my favourite five minutes of film all year. Michael, Manchester
Pillion blew me away – no pun intended. I’d expected it to be sexy and subversive but it’s a much bigger film than that. We saw it in a pretty full cinema and it felt like all of us were realising that fact together – the first laughs sounded surprised, mine included – but as the film revealed itself, it was clear we were all firmly on side. I left with a massive grin on my face and won’t shut up about it to anyone who so much as mentions a motorbike. Izzy, London
I’ve seen 156 films at the cinema this year, 114 of them new. My favourite, rather surprisingly to me, was Blue Moon. It’s just fabulously well done. The premise – lyricist Lorenz Hart trying to come to terms with the end of his professional partnership with composer on the opening night of Rodgers’s and Oscar Hammerstein’s first smash hit musical Oklahoma – is inspired. The script is sharp and witty and the acting superb, especially from Ethan Hawke as Hart, Andrew Scott as Rodgers and Margaret Qualley as Gary’s would-be love interest Elizabeth Weiland. I expect all of them to get Oscar and Bafta nominations, as well as the film itself getting nods for best picture and best original screenplay. Martin McDonald, 60, Manchester
Every aspect of the film gripped the audience in terrifying, magnetic ways, up until the climactic final scene. Never leaving Rose Byrne’s captivating performance and never panning to the daughter until the very end, the film captured a side to parenthood that we do not often see represented in media: the particularly devastating toll it takes on one’s capacity to see and deal with the world around oneself, as parent or child. Jonny Lawrence, Ithaca, New York
Nickel Boys is a wonderfully evocative, Malick-style film that effortlessly gets at a depiction of interiority that is so rarely achieved; a literary adaptation that is completely cinematic. A truly unique experience, emotional and thoughtful without descending into the sort of brutality that often punctuates this kind of story. A triumph. Sean, 33, London
There have been some superb films this year but The Ballad of Wallis Island takes it for me. Absolutely gorgeous, great soundtrack – and who knew Tim Key could act so well? Seán Gorman, 43, Galway, Ireland
The end of the yellow brick road, this film did not disappoint in concluding the emotional rollercoaster that the first film started last year. The more Q&As, interviews, podcast episodes I hear and conversations I participate in, the more I am impressed with every single element of this film. No detail, no motivation, no frame was taken for granted, leaving us with a powerful and incredible experience that changed me for good. M, California, USA
One Battle After Another is a stunning film with a host of compelling themes about modern America and indeed the world running through it. It’s funny, surreal and frightening. A real treat. Gary Ingrey, 66, Wisbech, Cambridgeshire
It’s difficult to choose, but I really enjoyed F1 the movie. As a keen motorsports enthusiast, I found it was light yet captured elements of the tactical side of racing that are often overlooked. The “experienced” veteran v newbie “dismisser” story also gave me a laugh. Raymond, 58, Kildare, Ireland
With its hazy colouring, late-60s setting and fairytale inspiration, The Ice Tower is steeped in a world of nostalgia, making for an easy favourite. Jumping off from The Snow Queen, the film also recalls the temporal uncertainty of The Lion, the Witch and the Wardrobe, and the visions of A Matter of Life and Death. Much as The Snow Queen left me as a child, The Ice Tower bound me in chilling wonder. Lauren, 28, London
Oslo Stories Trilogy
My favourite this year was the Oslo Stories Trilogy from writer turned director Dag Johan Haugerud; three films that present a long, meandering meditation on love in its different forms. Beautifully written dialogues and soulful understated acting; just really moving slices of life without the usual bombast. I loved the visual themes too; the stairs in Dreams, rooftops in Sex and river-quay vistas in Love. Some of the characters appear in all three films, and as a whole the Stories reminded me of Kieslowski’s Three Colours. From the 100 films or so I saw this year, this trilogy really stood out. Ariela Flusser, London
Frankenstein by Guillermo del Toro is the best film of 2025. I think he did a spectacular job of showing the creature’s empathy towards others and his anguish at being a “monster”, and Jacob Elordi gave a masterly performance. The cinematography was gorgeous, as were the costume design (Kate Hawley is a genius!) and set designs. Alexandre Desplat composed a fitting original score that added childlike whimsy to what could have been considered gruesome scenes, which put me into Victor Frankenstein’s mental state as he was crafting his creation and helped me see his process through his eyes. Oscar Isaac was well cast as the tormented creator and Mia Goth was perfect as the loving and benevolent Elizabeth. This was truly the Frankenstein film I’ve waited for my whole life. Sylvia Rowe, 58, Tennessee, USA
Train Dreams is a beautifully made meditation on life. It’s told with excellent performances throughout, with Joel Edgerton delivering a career best. Patrick, Ireland
A House of Dynamite is very well written, directed and edited. Excellent cast. A gripping thriller that emphasises the hard truth about the dangers of nuclear weapons in our time. Fictional, but factually accurate. Richard Western, 86, Oregon, USA
Black Bag is an interesting story that felt almost like a whodunnit. I enjoyed the atmosphere, the scenery and the wonderful cast. Jane, South East
Tornado is a revenge western set in an imagined 18th- t0 19th-century Scotland, with a Japanese hero whose father is a samurai, and who may or may not be a samurai herself. It’s made on film, 90 minutes long. What’s not to like? Tim Bradshaw, Devon
The true crime genre has morphed into a standardised, boiler-plate format, forgoing nuance and empathy for schlock and sensationalism. But Geeta Gandbhir’s The Perfect Neighbour bucks this trend through the meta lens of a true found-footage film. Such a cinematic choice risked being contrived, but it gives the film a profound and disturbing power. Despite exclusively using bodycam and CCTV footage, the film’s POV is almost a character in its own right – lingering on scenes and tableaux that resonate. The image of an empty chair in a police interview room, with a handwritten note resting by its leg, will haunt me for a long time. Matt, medical writer, Macclesfield
My favourite film this year is Nouvelle Vague by Richard Linklater. The movie narrates the pre-production and filming of Breathless by Jean-Luc Godard. I went to see it thinking it would be another biographical film filled with cliches and nostalgia about the golden age of French cinema. Instead, it was incredibly witty, funny and heartwarming, with great performances by unknown actors and a really creative and interesting approach to the story that mixes reality with fiction. It was the surprise of the year! Victoria, 22, Athens
The Kingdom shows a very little-known aspect of Corsica outside France. I’m from Brittany so I totally understand the pride Corsicans feel about their territory and culture. This film was made by Julien Colonna, the son of the head of the Corsican nationalist movement, Yvan Colonna, who murdered Claude Érignac, prefect of Corsica. This film centers around the raw and intense relationship between the head of a clan and his rebellious teenage daughter. They go on the run when their hiding place is discovered. It can only end badly because it’s a story of endless feuds, violence and revenge. It reminded me of As Bestas (The Beasts), another movie about culture clashes. The French government is largely unable to control the situation, and autonomy for the region may be the only solution for this fiercely independent territory. Catherine Laz, 63, London
This movie is a throwback not only to its sweating hotdog of a 1998 New York setting, but also to the kind of film it is. A film where a flawed character gets in an unimaginably horrible situation through no fault of their own and just makes everything worse at every opportunity. I love these kind of movies, the evil Alice in Wonderland story where characters descend into the veins of a living city underworld with a hero ill equipped to overcome any of it (Austin Butler loses a kidney in the first 12 minutes). The film shines in its set pieces, balancing its farcical elements with action. It is, above all, incredible fun. It will join the pantheon of films I put on when I get home from the pub. Tom Crozier, Melbourne, Australia
