It's tradition for me to choose a top ten list of films each year. Last year, I did a top 15. This year, I felt compelled to create a top 25 because I couldn't stand the thought of not bringing attention to some of these films. The year 2025 was a good one for movies, and often only a dozen or so films enter the awards conversation. You will find some expected films on the list, but I'm confident you will find at least one film mentioned that you haven't seen talked about yet (unless you follow me closely). I thought about ranking my list, but that proved too difficult. I can say that ONE BATTLE AFTER ANOTHER is the best crafted film of the year, and I saw it in theaters multiple times. But it's not necessarily my favorite. SINNERS will be the film with the most staying power. I predict this rich film will be in the conversation for decades to come. Perhaps the best surprise of the year came in the form of THE UGLY STEPSISTER, a body horror fairy tale entranced me from the first note of the score. But each of these films are noteworthy for different reasons. So I present them to you in alphabetical order, rather than in any kind of preference.
Parenthetical insertions represent that a film is included via streaming subscription.
40 ACRES, directed by R. T. Thorne (Hulu)
The theme of Black farmers has loomed large in the past few years with documentaries like SILVER DOLLAR ROAD, SEEDS, and FARMING WHILE BLACK. It's only natural that eventually someone would make a feature film -- and a good one at that. In this case, a family has survived simply because they stay together and sustain themselves on what they make at their humble but stable abode. The best parts of both Black and Indigenous cultures coalesce at the Freeman Farm, sustaining a rich heritage. They don't interfere with others and those who try to trespass face the consequences.Yet it's natural that the children raised by such independent parents will want to make their own way at some point and be curious to know what other children are like. The story pulls you in from the get-go by showing you how this family operates when everyone follows the family code. Then shows you what happens when boundaries get crossed and mistakes happen. The genre blend of apocalyptic, horror, and thriller works nicely to make the story digestible for larger audiences.
THE BALLAD OF WALLIS ISLAND, directed by James Griffiths (Prime Video)
My taste often leans towards the bleaker side of life when it comes to film. Get too sentimental or feel-good and I'm likely to call bullocks. But the British have a knack for peppering their sappier stories with dry humor or curmudgeonly characters to balance the mood. Add in an old flame and and an original soundtrack of catchy tunes, and I'm sold.One half of a broken up folk duo gets invited to a secluded island to play for an audience of one – a devoted fan who has won the lottery twice. Only the fan hasn't shared that he has invited the other half of the duo also, now married to someone else. As they try to reunite to perform their greatest hits, old feelings stir, bringing complications to an already awkward situation. If you liked ONCE, you will love this bittersweet comedy with subtle messages about loss and finding joy when you can.
BRING HER BACK, directed by Michael and Danny Philippou (HBO Max)
The Philippou brothers follow up their debut of TALK TO ME with BRING HER BACK, a deeply unsettling film that spiked my anxiety levels from the jump and didn't ease up until the very end.After their father kills himself, a pair of step-siblings, Andy and Piper, get sent to a foster home for what they hope is three short months. Foster mom Laura has other plans for their stay -- mainly in regards to Piper. The older sibling, named Andy is clearly not as wanted as Piper, although it's not clear why other than that Laura lost a daughter. There is one other resident of the household, a tween boy named Oliver with an unusual scar under one eye. There's something not quite right about all of this but darned if you won't know the truth until almost the ending, when it's too late.
The cast all give formidable performances, an impressive feat since three out of the four main people are teens. Billy Barratt is the clear standout as Andy, a teen with more invisible scars than one can imagine. Sally Hawkins, a star known for quirky, gentle performances goes a different direction as a mother trying to deal with her own grief and loss. With incredible nuance, she portrays a person with inherent giftings of empathy and healing, now converted by heartbreak into a capacity to inflict irreparable damage.
DEAF PRESIDENT NOW!, directed by Nyle DiMarco and Davis Guggenheim (Apple TV)
This lively, aurally dynamic documentary sheds light on a historical moment in the deaf community. It's 1988, and the campus of Gallaudet University gets turned upside down when the Board of Trustees chooses to appoint a hearing candidate as the seventh president of the school over the two deaf candidates. Tired of waiting for better representation, the student body stage a nonviolent coup, lead by four students. Over the course of the week, we witness the fascinating series of events unfold to a triumphant conclusion.The filmmakers use sound design to center the perspective of someone who is deaf, often muffling or dropping sound completely. All four of the student leaders serve as narrators looking back on the past. They recall their memories of what took place, offering eyewitness testimony (appropriately signed and captioned). In a time that feels devoid of hope, it's good to see an underdog story that ended in victory in only a week. But a movement can take years to take root, and some revolutionaries never see a change come in their lifetime.
FAMILIAR TOUCH, directed by Sarah Friedland (MUBI)
FAMILIAR TOUCH is a gentle, down-to-earth portrait of a woman with dementia settling into a memory care unit. There are no fits or bouts of terror. Just a woman living in an unfamiliar place and handling the challenge with grace and dignity. The transition to a healthcare residential facility can be a jarring one but can be made easier when the staff is as compassionate and well-trained as this group.Words don't always help a situation and often they can hurt. The power of a wordless touch can settle and soothe the nervous system. Throughout the film, the camera focuses on the ways people touch Ruth to help her feel safe and cared for. In her state of dementia, Ruth believes her son's closeness means he's a gentleman caller. Later, she basks in the healing kindness of a doctor's touch as he takes her pulse or checks her heartbeat. A pool of water envelopes her skin as a physical therapist uses non-invasive touches to keep her muscles mobile.
Ruth's skills as a cook ground her to her past and give her a place and purpose as she creates a new home. Rather than see her desire to keep up these skills as a nuisance, they allow her to continue. In a world where the elderly aren't always treated well, FAMILIAR TOUCH may restore your faith that aging doesn't have to be traumatic.
FRANKENSTEIN, directed by Guillermo del Toro (Netflix)
Guillermo del Toro injects new life into a well-worn classic with a gothic fairy tale wrapper and surprising amounts of theological depth as the Creature considers his place in the world.First we have Victor, the Creator, desperate to prove his worth to the world. The child of an abusive father, he grows up with the absolute certainty that he can never quite measure up. His twisted image of fatherhood bends towards his own experiences.
Then, we have the Creature, pieced together from remnants of dead bodies and jolted into new life by Victor's dogged willpower. Victor is the Creature's God – his Father. Forced to care for something that he believed would give him power, Victor despises the Creature – his dependence, his emotional fragility, his desire to please and be pleasing. He sees himself as his father must have – and hates him for it.
Jacob Elordi gives a mesmerizing and mostly wordless performance as the Creature, moving with the grace of a dancer and the hesitation and joy of a toddler. Scream Queen Mia Goth comes across as sweet and soulful, a kindred spirit for a Creature of such innocence. While not a perfect film, for its production design and spiritual depths, Frankenstein is still one of the best movie experiences I had this year.
LITTLE AMÉLIE OR THE CHARACTER OF RAIN, directed by Maïlys Vallade and Liane-Cho Han [French language]
Amélie is brought into the world believing she's God. This premise makes sense when you think about how parents treat their babies like the center of the universe. She lives with her Belgian family in post-War Japan, able to enjoy simple pleasures, like the gardens that surround her home. She finds special affinity with Nishio-san, their Japanese housekeeper, who seems to understand how to handle Amelie's unpredictable mood swings with ease.But what makes this film special isn't the story itself – it's the way the story makes you feel. Clearly inspired by Studio Ghibli films, the film sets a fantastical, surreal tone. Our hero Amélie is allowed the full range of emotions and takes advantage of opportunities to soak in the outdoors. Her life reminds me of the innocence of childhood. She is selfish, brave, joyful, sad, determined, and endearing. She is worthy of love and can acts like a little tyrant. I loved her dearly, with her green eyes and love for white chocolate. The animation style puts you in a trance and shows you a world you never want to wake up from. Prepare to fall in love with LITTLE AMÉLIE.
A LITTLE PRAYER, directed by Angus MacLachlan
“You want something to love that’s all your own. Something that’s all yours. Well, you have never had children. They don’t belong to you, and they will break your heart.”“We’ll just be here when they need us.”
These quotes are said by Bill (David Straithairn) and Venida (Celia Weston), a married
couple in their autumn years still trying to wrap their heads around their boundaries as parents. They have managed to raise two adults whose marriages and lives are trainwrecks. Bill and Venida struggle, as many parents do, with finding a sweet spot between enablement and passivity. They have to learn the hard way that sometimes a better form of love means allowing your kids to clean up their own messes and remaining on standby until the moment they fall into your arms. There’s strength in not interfering and remaining in watchful prayer.
Connections to faith also come from simple conversations in the kitchen, often about the loud neighbor who sings gospel tunes loudly out the window, with no shame or thought of who might be bothered. We keep thinking maybe the neighbor in question will appear and offer some words of wisdom. This was not to be. There is no Boo Radley-esque figure who shows up to save the day at the last minute. Just a family trying to make it through the next year, month, day, or hour. I also have a special love for this film made in North Carolina. The ending scenes are shot at the Reynolda House, a mansion turned museum that I have visited many times.
LURKER, directed by Alex Russell (MUBI)
In the cinematic tradition of ALL ABOUT EVE, THE TALENTED MR. RIPLEY, and SALTBURN, a parasitic social climber gains influence through an unusual propensity for hanging around.Matthew (Théodore Pellerin) is an average looking guy who works at a clothing store where trending pop singer Oliver sometimes shops. Although Matthew lacks any inherent charisma, some innate part of him understands social dynamics enough to be noticed by Oliver. Matthew begins shooting footage for a documentary that Oliver envisions will launch his career. But Matthew quickly realizes that for Oliver, he's just the flavor of the week. Eventually, everyone is shown the exit. The story could have ended with Oliver's dismissal of Matthew and been a semi-interesting tale of a narcissistic relationship cycle gone bad. But Matthew isn't content to slide out the door.
No one respects a parasite, but in some cases parasites prove themselves to be indispensable. Only when they've proven they add something irreplaceable does the power change. Once Matthew finds his lever of power, Oliver can't get rid of him and maybe doesn't want to. This psychological cat-and-mouse game is a devious delight from start to finish. From the smallest side character to the two leads, each actor is at the top of their game and plays a role in painting a picture of the risks and rewards of being part of a celebrity's entourage. Read my full review.
MARTY SUPREME, directed by Josh Safdie
Based on real table tennis champion Marty Reisman, MARTY SUPREME is a feverish anxiety attack masquerading as an underdog athlete story about the similarly named Marty Mauser.Marty's confidence drives him towards his goal of being table tennis grand champion. There is no lie too steep to keep him away from his self-proclaimed purpose. In underdog stories, we follow the competitor through the ebbs and flows of their efforts to make it to the top, rooting for them every step of the way. We want to see the little guy win. But director Josh Safdie boldly imbues his underdog story with ample socio-political complications that muddle the expectations. Marty isn't your typical underdog. He's a morally gray protagonist, bringing havoc wherever he goes and making a general nuisance of himself.
In the closing challenge, the Japanese are there to see their beloved Endo celebrate his victory as champion. Instead, they attend an exhibition game, only to see Endo lose to someone they consider a buffoon. In this post-WW2 society, the Japanese do not want further humiliation at the hands of Americans. And you feel that in this movie, even though it's never verbally expressed. But it does impact the amount of celebration we can feel over this pompous, charming, reckless, irresponsible, arrogant American defeating a Japanese champion that has done nothing wrong but win at his game. Endo, who is hearing impaired (a disability that may, in fact, be a result of an American attack) has probably had to overcome great obstacles to be champ. Safdie shows considerable talent as a filmmaker by creating an unlikeable character that we are still unwilling to leave. I might not want to be his friend, but I wouldn't mind being in his cheering section.
NO OTHER CHOICE, directed by Park Chan-wook [Korean language]
A man who feels he has everything has his happiness curtailed by a lay off. Now the luxuries of even owning a dog are taken away. Man-su needs a new job and nothing but paper will do. He devices a creative scheme with a pragmatic approach. He creates a fake paper company and advertises for a top position. When the resumes come pouring in, he identifies which people are more qualified than him and plans to kill off his competition.With AI bots ready and able to do the skilled jobs that once required humans, what's an efficient and careful worker bee to do? Park Chan-Wook has devised a Rube Goldberg-esque mouse maze of delights for cinema lovers. How one thing leads to another is a delicious treat. Anyone who has ever experienced a layoff will appreciate this timely and often funny crime thriller.
ON BECOMING A GUINEA FOWL, directed by Rungano Nyoni [Bemba language] (HBO Max)
As Shula drives home from a party, she finds her Uncle Fred dead in the middle of the road. She responds with a deadpan disinterest that seems puzzling. She calls dad, and he promises to come, if she can send him money. Drunk cousin Nsansa shows up instead of the dad. She's not exactly there to help, but she's available.The family comes together for a wake and what plays out is a complicated story of family dynamics, generational trauma, gaslighting, and an unhealthy indulgence of male dominance. The two cousins go through their own journey of discovering how deep the cover up of uncle's sins goes in this family as they sit through tribal councils and the real power center of a gaggle of aunties that need to block any attempts to bring light to the ugly truth. Her memories of a child's nature program about a guinea fowl act as an allegory for the desire to find protection and shelter in a place that is not safe for women.
ONE BATTLE AFTER ANOTHER, directed by Paul Thomas Anderson (HBO Max)
Definitely the best crafted movie of the year. A movie in chapters: Part 1 = revolutionaries in love rise up, part 2 = the lovers break up, leaving daughter and dad in witness protection, part 3 = Dad having to remember his training to save daughter from crazy baby daddy.No matter how you try to explain the plot, it will never convey the experience of watching ONE BATTLE. And there are a million interpretations of what the film means. This is a journey across our country, across our political divide, addressing the often asked question, "How did we get here?" We take stands, we care, we speak up for what we believe, and we try to create the world that we want to live in. But at the end of the day, it's the people we love that will drive us to the ends of the Earth.
THE PLAGUE, directed by Charlie Polinger
From the halls of my nightmares comes THE PLAGUE. Ben's parents have just divorced, and he is forced to move to a new town. His mother decides to send him to a water polo camp. What Mom doesn't know is that the water polo camp has been usurped by a middle school hierarchy of power and control.Ben enters in as a passive participant at first. The boys all seem to target a boy named Eli that they claim has the plague. Eager for acceptance, Ben goes along with the hazing, but in a predator/prey society, it's easy to become the target if you question any part. Ben tries to walk two paths for a time. He's friends with Eli in secret and still hangs with the main crowd. Eventually, he speaks up, and that decision costs him dearly. A scene that clearly pays homage to FULL METAL JACKET joins my collection of "scenes I never want to see again." Gratefully, Ben eventually awakens to the fact that living under the need for crowd approval is a suffocating weight, but he has a painful journey to get there.
PREDATOR: BADLANDS, directed by Dan Trachtenberg
Small for his clan, Dek flies to planet Genna determined to prove his worth by killing the apex predator of that planet, the Kalisk. He reluctantly teams up with Thia, a damaged android who has a special skill set of her own. Dek's people have taught him that strength is measured in size and how many people he hills. This teaches him about the way of the wolves, that the alpha is the person who takes care of the pack. Having never seen a PREDATOR film, I thought this would be a violent movie about aliens. What do I know? Instead, I get a buddy action flick with the dressings of a superhero story. Themes of friendship, loyalty, and chosen family had me smiling through this visually stunning film. Enjoy it in 3D if you can!
PREDATORS, directed by David Osit (Paramount Plus)
This documentary defied my expectations in every way. Far from being a celebration of the reality TV show TO CATCH A PREDATOR, it instead becomes a thoughtful examination of the harm such television might be inflicting on society. If you've never seen the show, in each episode, a predator is lured to a house by someone posing as an under age teen. Instead, the predator is confronted by host Chris Hansen, who shames them into admitting their sins on live television.David Osit's documentary examines the legacy the show left. Hansen always asked the culprits why they did such things but never seemed particularly interested in the answer to that question. Instead, the show revels in the shock of their sins and our moral disgust of catching them in the act. And copycat versions of the show exist, hosted by people less well trained than Hansen, who at least had an air of treating his targets with human curiosity. As a survivor of sexual assault, Osit seeks to interrogate if treating predators this way has any positive impact. Should entrapment be a source of entertainment or are they actually creating the outcome they claim to want to avoid? PREDATORS may find you thinking twice about your reality TV consumption.
SINNERS, directed by Ryan Coogler (HBO Max)
During the Jim Crow South, twin brothers Smoke and Stack return home to Mississippi and decide to open a juke joint, but unexpected visitors show up, wanting to join in the fun. A period piece, a vampire story, a history lesson, a musical – SINNERS is all of this and more. Ryan Coogler creates a fully immersive world, celebrates Black culture, and warns everyone of the danger of allowing the wrong people into your house. ONE BATTLE may be the best film of the year, but SINNERS will pass the test of time and be a film remembered for decades as the film that brought the blues into mainstream conversation.
SIRĀT, directed by Oliver Laxe [Spanish, French, English, Arabic languages]
MAD MAX meets AMERICAN HONEY but set in Morocco. Luis and his son Esteban show up to a rave, determined to find oldest child, Mar. Mar is nowhere to be found but reluctant ravers Bigui, Stef, Josh, Tonin, and Jade (all nonprofessional actors using their real names) agree to let the domestics join their caravan. Perhaps Mar will be at the next rave they plan to attend. The missing daughter's absence looms large over the film. Why did she run away? Luis claims she didn't leave on bad terms, but then why is he so determined to find her?SIRAT is a vibe. The ravers are young and fearless. They seek adrenaline and a moment and relief from their cares. But they are also loyal to one another and their nomadic lifestyle. Luis and Esteban don't fit in, but as the road trip continues, they evolve. You get the feeling that Mar perhaps found life with Luis to be suffocating. She sought the same freedom that his new travel companions do, and this challenges his approach to situations. I like to think that by the end, he has evolved and is more willing to take chances and go with the wind, but that might be my idealistic side talking. With a driving musical score by electronic musician Kangding Ray, SIRAT is a celebration of dance and a journey into the heart of darkness.
SOULEYMANE'S STORY, directed by Boris Lojkine [French, Fula, Maninka] (Roku)
An immigrant story that will break your heart, we meet Souleymane, a Guinean immigrant who lives in Paris. We follow Souleymane through the streets of Paris as he rides around on his bike, delivering food from an app. But he isn't able to earn the money legally, so he rents the account from someone else named Emmanuel, who earns a commission for allowing Souleymane to use his name and identity.Making every second count has become a necessity for Souleymane as he works himself to the bone trying to earn one more dollar, for everyone wants a piece of his meager salary. He needs money to send back home to the man caring for his mother. He needs to pay Barry, a man who claims to have the paperwork and knowledge to help him pass his hearing. And Emmanuel takes 50% of every dollar he makes. He has to wake up early to reserve a bed at a homeless shelter and work late to maximize his earnings.
Surviving as an immigrant is properly depicted as a futile, demoralizing experience. But one might endure it if they can hold on to their identity. When immigrants come to another country, there's a pressure to acculturate and fit into a box. For Souleymane, this only intensifies with Barry's insistence that he needs to lie about his story to pass the hearing. Let SOULEYMAN'S STORY inspire you to question everything you think you knew about immigrants.
STEVE, directed by Tim Mielants (Netflix)
There have been a billion movies made about teachers who go into a school or class, whip it into shape, and end the semester with a success story. STEVE uses this well-worn trope to tell a different kind of story – a teacher who keeps going even though the results don't visibly pay off. Yes, he's making a difference, but he might never see the proof. What keeps someone like him going?Steve is the headmaster of an alternative boarding school for "troubled boys." They are crass, prone to temperamental outbursts, rude, obnoxious, and all the things. And unlike an average school that might have 10% of its population acting out at any one time, it's every student at Steve's school. He records memos for himself to try to remember all of the case workers, parents, staff, and students he needs to touch base with. Oh, and members of the media and government often show up wanting to use his school as leverage for their next story or campaign. He allows it because maybe they will financially support his school. In between encounters, he pops pills and calls himself stupid. He's not kind to himself.
The story takes place over the course of 24 hours, with a clock giving us updates throughout the day. He clearly adores the boys, but the simplest task is made complicated by their constant need to test him. He offers a wonderful model for how he cares for the boys but a terrible one in how he cares for himself. Still I found it moving, especially the ending monologue where he explains to his new staff member what he sees in each of the boys. They are precious in his sight.
THE TESTAMENT OF ANN LEE, directed by Mona Fastvold
Mona Fastvold directs and Amanda Seyfried stars in the first ever (as I can tell) narrative feature film about the Shaker religion. And she bravely goes full out and films it as a musical. This is an appropriate choice because besides celibacy and expertly crafted furniture, the third thing the Shakers became known for was their large, raucous, lively worship service. These gatherings are filmed with the unabashed enthusiasm of a Pentecostal service.The life and times of the group's founder Ann Lee serve as the center of this film. How she came to conviction about a life of celibacy. How her religious upbringing and home life informed her choices. Amanda Seyfried deserves all her flowers for this athletic, vulnerable, courageous, and tireless performance. Lewis Pullman also stands out as her brother, a faithful congregant and her constant companion until his death.
This film stands out as a landmark story of an important and often misunderstood religious sect. You may not want to become a Shaker, but the devotion and courage they showed for their faith is certainly admirable. In one scene they sing, "I never did believe that I ever could be saved without giving all to God," expressing peace and relief at their ability to surrender to a Higher Power. It may also may ground viewers to remember what religious persecution actually looks like.
TWINLESS, directed by James Sweeney (Hulu)
James Sweeney directs and co-stars in TWINLESS, a dark comedy about two men who meet in a support group for survivors who have lost a twin. Roman (Dylan O'Brien) tries to move forward after his twin brother Rocky dies. Even though we learn that they haven't spoken in awhile, he struggles to do the most basic things alone. He meets Dennis (James Sweeney) at a grief support group, and the two seem to hit it off immediately. Roman appreciates that Dennis understands his pain and also feels connected by the fact that Dennis is gay, just like Rocky. The pair gets closer and become intertwined in each other's lives, but once Roman begins to date Marcie (an upbeat Aisling Franciosi), Dennis feels abandoned and struggles to keep his affection for Roman strictly platonic. What starts as a sweet but somewhat bland meet-cute friendship story quickly becomes something more raw, real, and slightly twisted.Viewers should enter into TWINLESS as blind as possible and avoid reading review or spoilers. The story begins in Roman's perspective and then stops, reverses, and begins again through the eyes of Dennis, causing us to question all that has come so far. The term "male loneliness epidemic" gets thrown around a lot, but Sweeney's screenplay brings this to life.
TWINLESS offers a painfully honest look at the risks of male friendship. It can provide balm but become toxic when deception exists, leaving both parties feel betrayed. For me personally, it offered a different meaning. As a single person, I have spent a lot of time being a third wheel or not being chosen by the person you choose. Watching Sweeney go through the highs and lows of meeting Roman, being his +1, and then losing that privilege felt all too real. Read my full review.
THE UGLY STEPSISTER, directed by Emilie Blichfeldt [Norwegian, Polish, etc] (Shudder)
THE UGLY STEPSISTER follows a rich tradition of revisionist literature where a character thought of as the bad guy gets a chance to tell their side of the story. But unlike Elphaba in Wicked, the titular ugly stepsister's sufferings manifest as a gruesome and disturbing body horror. Those with squeamish stomachs, be warned. THE UGLY STEPSISTER will make even the heartiest Cronenberg fan sweat.Our ugly stepsister of interest, Elvira, arrives with her mother, Rebekka, and younger sister, Alma, on the day of the wedding of Rebekka and Otto. Otto keels over dead, leaving Rebekka with a pile of debts and a third daughter to care for, the effortlessly beautiful Agnes. Of course, the mother desperately wants her own daughters to marry wealthy so that she can continue the life to which she's grown accustomed, but Elvira has her own raison d'être. A romantic at heart, she loves words and dreams of marrying the local prince, a published poet. If only Elvira was as beautiful as Agnes. Her mother puts her through a harrowing battery of beauty regimes meant to bring her up to snuff.
Destined to be a cult classic, THE UGLY STEPSISTER is a blessed addition to the twisted fairy tale cinematic universe with its relatable, flawed heroine and ultimately empowering message. Read my full review.
THE VOICE OF HIND RAJAB, directed by Kaouther Ben Hania [Arabic]
The war between Israel and Gaza takes a different shape through the eyes of the first responders who receive phone calls at a call center. This time it's a cry for help from a child trapped in a car after her whole family has been slaughtered. The staff go through a Sisyphean effort to coordinate an ambulance rescue. What should be a 10-minute ambulance ride to little Hind crawls into hours as the group tries and fails to secure safe passage for a convoy. Actors reenact the events edited together with recordings of the real phone calls from Hind Rajab. This immaculately edited docudrama will have you riveted and horrified at the helplessness these workers feel and the hopeful pleading of Hind.
WAKE UP DEAD MAN: A KNIVES OUT MYSTERY, directed by Rian Johnson (Netflix)
Father Jud wants to make a difference at a parish. His life as an ex boxer means he has a past of ruthless energy, but this only emerges when he sees someone weak taking a beating. Then his protective instincts kick in. So a power-hungry monsignor is going to be a wrath trigger for Father Jud.What is special about this third KNIVES OUT is how it merges a cozy mystery with a faith journey -- not just of the congregants and Father Jud, but of Benoit Blanc himself. No, he's not going to convert to Christianity, but he may have to convert his methods once he witnesses the compassionate ministry of Father Jud.
Investigators always have a keen mind and a special understanding of human psychology. This helps them to analyze the material best and see what's really underneath the trappings. But Blanc's methods are constantly undermined by Father Jud's desire to protect the sheep in his care. Blanc has to admit that this humble priest might actually be better able to gain a confession by being a loving protector and agent of grace. And this changes Blanc.
To see previous year's lists, go here.
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