2025’s Best Movies So Far: From Quiet Indies to Zombie Blockbusters

2025 is already proving to be a standout year for film- not necessarily for bombastic box office records or endless franchise entries (though a few have sneaked in), but for the sheer variety and originality on display. From auteur returns to quietly bold genre hybrids, the year’s best films so far are surprising and atmospheric. With us now settling comfortably into blockbuster season, let’s take a look at the samurais, quirky thrillers and zombie apocalypses that made up the first half of the year:

Tornado

Tornado marks John Maclean’s long-awaited return to cinema, a decade after Slow West, with a bold genre hybrid that fuses the aesthetics of samurai films, Westerns, and a bit of grindhouse grit. Not set in Japan though nor the American frontier but in 1790s Scotland, the film follows the titular character and a boy as they flee a gang of ruthless highwaymen led by Tim Roth’s composed yet vicious “Sugarman.” Their journey through the hilly landscapes of Edinburgh sets off a lean, tension-filled chase rooted more in quiet intensity than explosive action. While it opens mid-pursuit, Tornado takes its time with a steady, deliberate rhythm. The result is an atmospheric and focused indie Western-samurai hybrid, grounded in style, never sluggish, and peppered with sharp bursts of minimalist violence that might take a bit of time to come, but they feel earned.

Tornado draws on the cinematic language of Kurosawa, Leone, and Shindō, with the rugged setting becoming a character in itself. Jed Kurzel’s haunting score creates are jarring, intense tone, and transitions it into something rather dreamlike. The performances are uniformly strong- Kōki’s restrained portrayal of Tornado is so stoic yet so expressive, capturing the character’s emotional evolution from silence to fury. Roth’s quiet menace and Jack Lowden’s layered morality round out the ensemble. At its core, Tornado is a meditative character study disguised as a chase film, exploring themes of identity, grief, and isolation. It’s a 91-minute slow burn that rewards patience with lasting emotional resonance.

The Phoenician Scheme

Wes Anderson’s The Phoenician Scheme is a film that is so Wes Anderson and so thoroughly steeped in his trademark style that it often feels like a self-parody… though not necessarily to its detriment. Everything audiences expect from the director is present: symmetrical framing, deadpan dialogue, whimsical characters, pastel-drenched visuals, and a dollhouse-like attention to detail. The story follows Benicio del Toro as a diplomat entangled in a surreal espionage plot involving mistaken identities and lost artifacts, all set in Anderson’s familiar fantasy version of Europe. Stylized black-and-white sequences provide striking visual contrast, offering brief and very welcome resets for the eyes from the film’s candy-coloured intensity.

Despite its dazzling presentation and an all-star ensemble- including Mia Threapleton, Michael Cera, Scarlett Johansson, Tom Hanks, and Willem Dafoe- the film occasionally flirts with style over substance, which is hardly surprising considering who’s at the helm. While the world-building is immaculate, the narrative itself feels secondary, especially as the film progresses and its aesthetic novelty begins to wear thin. Still, even if the story lacks the emotional depth of Anderson’s best work, The Phoenician Scheme remains a visually rich, self-aware showcase of his singular vision. For longtime fans, it’s a playful reaffirmation of everything that makes Wes Anderson’s films uniquely Wes Anderson.

Sinners

Sinners delivers a captivating Southern Gothic atmosphere, richly textured with grand visuals and a hauntingly beautiful soundtrack that elevates the film beyond its horror elements. While the film leans comfortably into vampire lore and supernatural tension, these feel almost secondary to the lush portrayal of a small town grappling with themes of class, segregation, and the lingering shadows of slavery- at least in the sense that the film almost feels like Coogler has two ideas for two different films, but it balances the two distinct moods very well- historical drama and genre horror- blending them in a way that feels ambitious and fresh.

Though some narrative choices may not fully land or add much to the story- like Michael B. Jordan being twins (the two lead characters could’ve been non-identical brothers or even cousins, as is sarcastically alluded to during one scene), the film’s strengths are undeniable. The cinematography and soundtrack work together to create a genuinely immersive experience, supported by strong, compelling performances. In a cinematic landscape crowded with franchises and reboots, Sinners stands out as a genuinely original work, offering both style and substance. It’s a thrilling, atmospheric ride that’s as enjoyable to watch as it is to listen to- a very welcome breath of fresh air.

Thunderbolts*

Thunderbolts smartly avoids becoming “Marvel’s Suicide Squad,” opting instead for a more grounded and emotionally driven team-up film. While it still centers on a group of anti-heroes banding together, the dysfunction among them isn’t as big of a focus compared to similar ensemble films- comedy takes a backseat to character development. The comedy is still there (can’t have a Marvel movie without a few laughs!) but the anchors of the story are Florence Pugh and David Harbour as Yelena and the Red Guardian, exploring the complexities of their strained father/daughter relationship and the emotions and depth that that brings. Meanwhile, Louis Pullman brings surprising weight to the role of Robert Reynolds- a character who is a powerful personification for depression, with his internal struggles taking centre stage in a refreshingly nuanced way.

Tonally, Thunderbolts feels more intimate than many recent MCU entries. It’s lighter on spectacle and action, and with its lesser-known lineup of characters, it often feels closer to television than a cinematic blockbuster- but that isn’t meant as an insult. Its most epic moment is arguably the opening sequence where Pugh bungees off of the Medaka 118 in Kuala Lumpur, Malaysia- the second tallest building in the world- (a feat she legitimately pulled off with no CGI!). Even the finale leans into metaphor and internal conflict rather than a CGI-heavy showdown. That said, the strong performances, thoughtful themes, and moments of sharp humour help the film stand on its own. It may not be the MCU’s loudest entry, but it’s a welcome change of pace, and it sets the stage nicely for what’s to come with The Fantastic Four: First Steps and beyond.

Mickey 17

Bong Joon-ho’s Mickey 17 is a visually ambitious yet surprisingly intimate sci-fi comedy that blends existential musings with dark humour and political satire. Robert Pattinson stars as multiple versions of Mickey, an "expendable" human clone sent to colonize a distant planet, only to find himself as his seventeenth incarnation left to die because he’ll just be replaced anyway. And he is- prematurely- by Mickey 18- his colder, more ruthless successor. Upon that return, the film narrows from what feels like it’ll be a massive inter-galactic adventure into a claustrophobic, almost indie-like character-driven piece set within a quirky, dystopian colony led by Mark Ruffalo and Toni Collette. The pair play eccentric dictators straight out of an ‘80s B-movie, perfectly embodying Bong’s sharp critique of power, greed, and the consequences of colonization.

Robert Pattinson excels playing the timid Mickey 17 and his more psychotic alter ego Mickey 18, who evolve from adversaries to uneasy allies, especially through their connection with Naomi Ackie’s strong-willed soldier, Nasha. Ackie delivers standout moments, challenging authority while showing deep care for both humans and natives. While Steven Yeun and others contribute solid performances, some characters fade into the background amid the complex narrative. Mickey 17 blends Bong’s signature mix of genre and social critique, creating an offbeat, oddball sci-fi film that feels smaller and more intimate than expected. It’s a movie that might divide audiences at first but is destined to find a devoted following, potentially rising to cult classic status and demanding a second viewing to fully appreciate its layers.

28 Years Later

28 Years Later picks up in a heavily quarantined Scotland, where Aaron Taylor-Johnson’s character decided that his 12-year-old son Spike, played by newcomer Alfie Williams, is old enough to enter the zombie-infested mainland. The infected themselves have evolved with new terrifying varieties- the sluggish, bloated “slow-lows” and the big, beefy towering “alphas,” that could probably out-sprint an Olympian. We know that writer Alex Garland is a gamer, with 28 Days Later being partly inspired by Resident Evil, and these new zombie classes definitely seem inspired by video games, adding fresh tension to the franchise’s zombie lore.

28 Years Later divides neatly into two halves: a fast-paced, violent opening filled with intense action and a slower, more introspective second act focusing on character relationships amid the infected’s looming threat. Jodie Comer and Ralph Finnes deliver the film’s strongest performances, as Comer’s character who is sick and possibly dying travels with her son (Spike) to the mainland in search of a doctor (Ralph Finnes) who might be able to save her.

While 28 Years Later leans less on the broader societal collapse themes of its predecessors and more on the immediate horror of the infected, it remains a solid and enjoyable installment. For newcomers, this isn’t World War Z scale, but for fans craving more punk-rock zombie action with emotional depth, it’s a compelling expansion that sets up the next chapter, The Bone Temple, with cautious optimism.

Honourable mention: Superman

An honourable mention only because it just soared into cinemas this past weekend and I haven’t had a chance to see it yet. James Gunn’s Superman led by David Cornswet’s man of steel has been garnering a good response, if not slightly mixed. But others in the Rarewaves office who have managed to see it have spoken positively. Praise has been directed towards the visuals in particular, and even though the film seems to be overstuffed with characters, it’s been said that it’s very easy to follow.

As far as professional critics go, Rolling Stone called it “so much fun” and that it “feels like a living, breathing comic book.” Games Radar followed suit calling it “a triumphant reinvention” and positive start for the revamped DC Universe and TheWrap said it’s “as super as a Superman movie gets.” On the other hand, Empire said “it doesn’t work” and The Irish Times called it “utterly charmless” and “as funny as a toothache.” But critics are just people with opinions like you and I, so go see it, and be sure to let us know what you think!

While we’re only halfway through the year, the films of 2025 have already set a high bar for what cinematic storytelling can be. These movies showcase a diverse, ambitious range of voices and visions. And importantly, they feel distinct- refreshingly removed from the conveyor belt of sequels and reboots that dominate the mainstream.