Film critics Anne Thompson and Ryan Lattanzio have unveiled their most anticipated lists of the year.
On their latest “Screen Talk” podcast episode, the duo revealed strikingly different top 10 films of 2025, with only one title appearing on both lists.
Thompson crowned Ryan Coogler’s Southern vampire epic “Sinners” as her number one, while Lattanzio placed Alain Guiraudie’s queer noir “Misericordia” at his top spot.
Their sole overlap? Paul Thomas Anderson’s “One Battle After Another,” which signals the film’s strong awards potential heading into Oscar season.
Thompson Champions Genre-Bending Cinema
Thompson’s list reflects an appreciation for bold storytelling across multiple genres. Following “Sinners” at the top, she selected “The Voice of Hind Rajab” and “Sentimental Value” as her second and third choices respectively.
Her rankings showcase both prestige dramas and unconventional narratives. “Train Dreams” landed at number four, followed by “Hamnet” at five and Anderson’s “One Battle After Another” at six.
Rounding out Thompson’s list are “Frankenstein,” “Blue Moon,” “28 Years Later,” and “Marty Supreme” in positions seven through ten. She also singled out Embeth Davidtz’s “Don’t Let’s Go to the Dogs Tonight” as her pick for best first feature.
Thompson named Raoul Peck’s “Orwell: 2+2=5” as the year’s best documentary.
Lattanzio Highlights International and Independent Voices
Lattanzio’s selections lean heavily toward international cinema and independent productions. After placing “Misericordia” at number one, he ranked “Resurrection” second and Rose Byrne’s “If I Had Legs I’d Kick You” third.
“One Battle After Another” secured fourth place on his list, with “Pillion” and “Urchin” following at five and six. His final four picks—”The Things You Kill,” “April,” “Hedda,” and “Cloud”—demonstrate appreciation for diverse storytelling approaches.
Lattanzio offered honorary mentions to “The Testament of Ann Lee” and “Roofman,” films that nearly cracked his top 10.
Hollywood Faces Uncertain Future Amid Major Acquisition Drama
Beyond their personal rankings, Thompson and Lattanzio analyzed the seismic Netflix versus Paramount battle to acquire Warner Bros. The podcasters assessed which buyer would benefit Hollywood most as the industry confronts declining theatrical releases.
Box office numbers continue dropping while theater attendance concentrates around intellectual property, animated features, and select original films throughout 2025. The critics acknowledge these trends signal inevitable transformation ahead.
Hollywood cannot stay the same, even as this news suggests worse things to come. Don’t panic yet.
President Trump entered the conversation this week, expressing his desire for Warner Bros. Discovery-operated CNN to be included in any deal. Paramount’s shareholder pitch emphasizes keeping the company intact.
Meanwhile, WBD’s David Zaslav proposes spinning off Discovery’s cable assets and CNN while selling Warners’ streaming and theatrical operations—including Warner Bros. studio, HBO, and HBO Max—to Netflix.
Awards Season Heats Up With Golden Globes Surprises
Recent Golden Globes and American Film Institute announcements have shifted Oscar predictions considerably. “Wicked: For Good” appears increasingly vulnerable as a Best Picture nominee after missing a best musical nomination at the Globes.
Stars Cynthia Erivo and Ariana Grande both received acting nominations, though Erivo’s Best Actress chances look less certain. Rose Byrne has gained momentum among critics groups for her performance in “If I Had Legs I’d Kick You.”
Neon Dominates International Feature Race
The best international feature Oscar race intensifies ahead of Tuesday’s shortlist announcement. Industry observers predict Neon could claim four to five spots among the 15 finalists.
Potential Neon titles include:
- “Sentimental Value”
- “The Secret Agent”
- “Sirat”
- “It Was Just an Accident”
- “No Other Choice”
This unprecedented distribution company dominance could reshape international feature campaigning for years ahead.
What These Lists Reveal About 2025 Cinema
The divergence between Thompson’s and Lattanzio’s selections highlights 2025’s remarkably diverse film landscape. Thompson gravitates toward high-profile genre experiments and established auteurs, while Lattanzio champions lesser-known international directors and boundary-pushing narratives.
Their single overlap on Anderson’s latest work suggests critical consensus exists only for filmmakers with proven track records. Otherwise, taste remains wildly subjective even among seasoned critics covering identical release calendars.
IndieWire’s entire staff will publish their own top 10 lists tomorrow, offering additional perspectives on which 2025 releases resonated most powerfully. These collective rankings will provide clearer insight into which films might dominate year-end awards conversations.
As theatrical distribution contracts and streaming services reshape content consumption, critics’ year-end lists carry renewed significance. They serve as cultural markers identifying which stories break through increasingly fragmented media ecosystems to make lasting impressions.