All That and the Marmalade: The 143 Films of 2025 which Surpassed Paddington in Peru

jaredhalstead44
Jan 2
42 min read

Updated: Jan 14

Okay, let's get one thing out of the way right off the bat. If you read this title and are perceiving it as even a mild slight towards Paddington in Peru, you are way off track in regards to not only what this article is covering but also the general content coming out of this website will be about. Several years back, I started doing these yearly "Best Of" lists for the films throughout the respective year. It started as a Top 25, moved up to a Top 50, and last year finally became a Top 100–simply because the amount of top tier cinematic content has been accelerating.

This year, I took a differnet approach. Rather than picking a number, I used a film as a benchmark. I settled on a film that wasn't going to be in the rarefied air of my rankings, but which nonetheless I would adamantly defend as a triumph of filmmaking. Enter Paddington. The first two Paddington films were instant classics, and I strongly feel that Paddington in Peru is in the same general league as its predecessors. This may not be the last entry made in that franchise, but if it is, The Paddington Trilogy should be mentioned in the same breath as some of the great movie trilogies.

So that is where the line of demarcation for this list came from. A film that I have nothing bad to say about, which I believe to be genuinely important in the scope of cinematic history, and most importantly one that I find high enough in objective quality that I would be comfortable passing judgement on someone who argued it was a low-end product. In short, if I see a movie that I enjoy more than my ascribed benchmark film, I feel justified in my need to share it with the world.

Now that we've clarified that, it's time to talk about the outstanding year in film we just went through. It was one of the most successful years in a long time for superhero films, an absolutely inspired showing from documentary filmmakers, Stephen King and Shakespeare were both adapted to screen on multiple occasions, the bleak outlook of war and late-stage capitalisim were both explored to harrowing ends, animated films continued to push the boundaries of our imaginations, and we got to see new heights from seasoned performers as well as bold leaps onto the map from entrancing newcomers.

There really is so much I want to tell you about, so without further ado, here are the 144 Best Films of 2025:

Sinners - To state it concisely, Sinners is an all-timer. It’s a vampire movie, but it’s so much more than that. It’s a great musical and a critical examination of life in the Jim Crow South. I went in expecting a great supernatural film, and it is very much that. It gets pretty explicit about being a vampire film, and it is now one of my favorite vampire films of all time.

It understands how to embrace camp without making itself a joke. There are definitely moments when you’re supposed to laugh, and that is part of what makes it exceptional—it is funnier than I thought it would be. Not to even mention the fact that it boasts arguably the greatest dual-role performance of all time, it is just so much more than I expected.

From Ryan Coogler to Hailee Steinfeld, Delroy Lindo, and Michael B. Jordan you get to see a whole flock of experienced artists working at the absolute top of their game, and newcomer Miles Caton may well end up winning more awards than the rest of them combined.

It’s simply phenomenal stuff, probably in my top 50 movies of all time. I will love this film forever. I think I recommend it to everyone who has ever enjoyed anything ever in their life.
One Battle After Another - This Film is outstanding and downright important for every single person in America to go see as soon as possible. It is powerful, hilarious, and timely.

This is quite easily my favorite Paul Thomas Anderson flick ever. It’s at least debatably my all-time favorite performances from all four of Leonardo DiCaprio, Sean Penn, Benicio Del Toro, and Regina Hall—not to mention a big leap onto the map for Chase Infiniti. There are arguments for about 15 major Oscar nominations from this film, but no amount of awards would really come close to eclipsing the importance of what the story has to say.

It is exceedingly difficult for one work of fiction to effectively combat and critique real-world evils in the manner this movie does. It both directly addresses systemic issues within our society and also skillfully utilizes satire to further dismantle the institutions responsible for those issues. The humorous undertones do nothing to distract from the more serious moments produced here—and vice versa.

Allow yourself to be immersed in some exceptional content that finds a way to be both challenging and charming; I cannot recommend it highly enough.
The World Will Tremble - The third utterly flawless film from 2025 is a much more harrowing experience. This is the story of Michael Podchlebnik and Szlama Ber Winer, the first two Jewish prisoners to escape during the Holocaust. It is meticulously researched and artistically shot.

There is a narrow path to walk when recounting true stories from the midst of atrocities like this one. A skilled auteur will confront the subject material headfirst without relying on the graphic material at the nucleus of the event to transform the narrative into a spectacle. In short: Be honest, but don’t reduce it to torture porn. This film finds that balance as well as any attempt has. It doesn’t shy away from showing the audience enough to be disturbed, but it hits you just as hard with its implications as its explications.
Sentimental Value (Affeksjonsverdi) - This movie is like going to a year of therapy. It has adult conversations with its viewers, and both sides are better for it. Recommend this movie to your mother so she thinks you’re doing okay. Take your boys to a screening of this movie so they can grow as men.
Superman - The best in a good year of superhero cinema. James Gunn’s reboot of this character is my new favorite movie in the franchise, and there is almost nothing bad to say about it. Immaculately cast, written with hilarity and heart, meaningful, and—to the delight of us fans—setting a new standard for the DCU going forward.

Here’s to truth, justice, and a better tomorrow.
KPop Demon Hunters - I did a mid-year Top 50 this year, and the one movie that I didn’t get around to that I totally should have was this one.

“It’s an animated film about a KPop band fighting demons, I mean, I’m sure it’s good, but it’s not like…”

I AM SORRY. I WAS WRONG. THIS MOVIE IS THE TRUTH. Amazing soundtrack, insane animation, lovable characters (even big dumb cats that have my heart forever). From the bottom of my heart, if this movie doesn’t bring out the teenage girl in you, fuck off. I don’t need that kind of negativity in my life.
The Girl with the Needle - This film redefined the way I think about serial killer films. They drew the focus away from the monster, and in doing so gave themselves the creative liberty to tell the story honestly, but with flair. I don’t want to say more than that at the risk of really spoiling things for someone, but I should also caution that it is DEVASTATINGLY sad. Like, it will tangibly screw with your psyche a little bit, you would be weird if it didn’t.

Do with this information what you will.
No Other Choice - Many, many people will tell you this is the best movie of the year, and I’m not here to tell you they are wrong. It’s a fascinating glimpse into the mind of the average victim of late-stage capitalism. Both Park Chan-wook and Lee Byung-hun are racking up awards and nominations, and they deserve it all. No notes, an instant classic.
Hamnet - The actual life of William Shakespeare is a difficult subject to tackle. So much of his life is shrouded in mystery, and so much more has been embellished over time. It’s almost as difficult as procuring a historically accurate account of Jesus of Nazareth.

The best approach, as this film and others have felt, is to give the real world a small injection of the mysticism from Shakespeare’s works. That almost imperceptible amount of wiggle room granted by allowing that imagination to slip in is what is really necessary. He is a legend regardless of how much you focus on historical accuracy. Tell the facts that we can know for certain, and allow the ether to slip into the cracks.

That is the path Hamnet takes, and that is why it is arguably the best take on his life and times there has ever been.
Thunderbolts/New Avengers - An exemplary beginning to a big year of superhero content. I like most of the movies in the MCU, but this was something special. It blew away all of my expectations, and it was the movie that finally kicked Thor: Ragnarok out of my MCU Top Three.

It also helped to establish a theme that has been prevalent in a huge portion of the films this year: Mental health awareness. Which is great. I managed to make it all the way to my first viewing of this film without even knowing Sentry was in it, which feels like a major accomplishment. I like Sentry from the comics, but I wouldn’t have expected him to be the MCU role I identify with the absolute most out of any character, that was a pleasant surprise. Overall just another triumph of a film.

Side Note: Lewis Pullman doesn’t always look like his dad, but sometimes he looks A LOT like his dad.
Marty Supreme - Timothée Chalamet with his “give me a fucking Oscar” submission, and there have certainly been worse attempts. Comes with the high-anxiety atmosphere one would associate with a Safdie brother movie. An excellent supporting cast, highlighted by Gwyneth Paltrow and Odessa A’zion. Loosely based on the real life of Marty Reisman, this one is an absolute hurricane.
Universal Language - This film creates an absolutely bonkers universe that is indisputably in Winnipeg, but also pretty clearly Tehran. The world-building itself would have been enough to earn a place somewhere on this list. The biting, crisp dialogue that somehow links together Turkey hustles, confused tourists, and some money frozen in ice? That’s how it got this high on the list.
Final Destination: Bloodlines - I know, I also think it is wild that a Final Destination movie is up this high in my rankings. Not only was this the best film in the history of this franchise by miles and miles, it was better than I would have thought this franchise could possibly get.

It paid great homage to its predecessors, had the most outstanding collection of deaths, had an engaging and well-reasoned plot line, had several solid acting performances, and just was incredibly engaging throughout. I was skeptical as hell about this film during the entire production and release process, but boy was I wrong.

I can respect that these movies may not be some people’s cup of tea regardless of how well they are done, but this is as good as it can feasibly get for a Final Destination film.
The Ballad of Wallis Island - are only like five characters in the whole film, and it is just another powerful message about growth, taking care of yourself, and being kind.

For bonus points, if you like folk music at all, I highly recommend giving the soundtrack to the movie a few listens through before you see this one. It’s a great flick, but enjoying the music ahead of time will help you achieve maximum engagement.
Freaky Tales - This one has just been continuously going up this ranking since I saw it. A grindhouse-style anthology that is loosely based around real world events from the Bay Area in 1987. Too Short narrates and is heavily featured—both as a cameo and a character. Nazis get their faces punched in. A member of the Golden State Warriors goes full samurai. Pedro Pascal, Dominique Thorne, Tom Hanks, Marshawn Lynch, and Angus Cloud are just some of the excellent cast.

There is a substantial likelihood that this is the film from this year I rewatch the most times, it is a new creature comfort for me. There is very little to dislike about it.
The Secret Agent (O Agente Secreto) - This is one for lovers of classic cinema. It transports you back to a time when films played into their limitations rather than trying to make it all marketable for the masses. Udo Kier shined as brightly as ever in his last role, and it was all to support Wagner Moura, a true gem of the acting world, who hopefully has more performances like this one in him, because this level of skill is Oscar-worthy.
Frankenstein - Guillermo Del Toro really had a vision with this one. The most faithful adaptation of Mary Shelley’s Frankenstein we have yet to see. Endearing performances from both Isaac and Elordi, two brilliant actors who we were lucky to catch on the same screen.
To A Land Unknown - I saw this film described as “Palestinian Midnight Cowboy” and I really don’t think I can sum it up better than that. It is gritty, mindful, and timely. You should feel compelled to see it when you can.
Wake Up Dead Man: A Knives Out Story - The third installment in the Knives Out story is similar to Paddington, in that I don’t know if they are stopping at a trilogy, but I know it would be a solid trilogy if they did. Josh O’Connor really had the best year of any actor in 2025. He wasn’t alone in this fantastic ensemble, but he probably did stick out the most.

I’m not really surprised that I loved this film, but there is one thing that did surprise me. This was the most impartial and nuanced take on the Catholic Church I’ve ever seen recreated in film. It wasn’t unnecessarily harsh on religion, but it didn’t view it through rose-colored glasses either. Truly incredible representation in a delightful flick.
Weapons - A film that was initially beloved has turned a little divisive in its popularity. The thing that works for me is the unreliable narrator they establish at the beginning of the movie. That probably kept it out of my top ten, but it also allows me to overlook minute details like an ominous gun over a house. That might well be what a little girl thinks grown men have bad dreams about.
The Ugly Stepsister (Den Stygge Stesøsteren) - A body horror take on the untold tale behind Cinderella. Lea Myren will keep you transfixed as Elvira. Her drive towards popularity and acceptance is reminiscent of a lot of stories, it just takes them a step further.
Vulcanizadora - Two friends go into the forest together. Things get complicated. A shocking work of art.
Don’t Let’s Go to the Dogs Tonight - This film transports you to the Rhodesian Bush War, and inserts you into the life of Bobo, an 8-year-old white girl who lives in a life of relative comfort and privilege compared to those in her immediate proximity. As a viewer, you are forced to go through all the growing pains that Bobo is, and it is a disturbingly personal journey.
Sorry, Baby - A story of growth because of the damage others have caused you. Not always a comfortable viewing experience, but maybe that will lead you to some growth, too. Eva Victor pulls this all together with an absolute tour de force.
Mahavatar Narsimha - There was plenty of great animation and plenty of great Indian folklore in cinema this year. This managed to combine the best of both worlds into something truly spectacular. One of my favorite aspects of the film was how they used the wide screen format to let their characters dip even further into or out of the action on occasion. That was genius and a great example of how this film did little extra things to set itself apart.
Roofman - I’ll be perfectly frank, I did not think this would translate well to film. I was somewhat surprised that the story translates to book format, and I thought putting it on the silver screen was downright foolish. Kirsten Dunst and Channing Tatum lead the way, but the whole production exceeds expectations.
Predator: Badlands - The Predator franchise has been waiting for a Moses figure like Dan Trachtenberg for a while now. This has been a universe with a massive amount of potential that has largely been relegated to the B-list. Then, Trachtenberg came along. This film is his crowning achievement so far, but it’s not even the only one on this list. He will guide the Yautja to the promised land.
Little Amelie or the Character of Rain - Adorable and heartfelt, this is the tale of Amélie’s first three years of life as a little white French girl in post-war Japan. It deals with details well beyond her understanding, but shows the grasp the human mind innately has on kindness.
Soundtrack to a Coup d'Etat - This was easily my favorite documentary of the year. Not only does it get in your veins musically, it shows how jazz can move the world. Art for harm battling against the inherent good the music wants to do. Watch this film to educate yourself on the early 60s as a whole.
Kill the Jockey - The most bizarre entry into the LGBTQ+ lexicon for this year. Some people will surely be upset by decisions this film makes. For my part, I think its heart is in the right place, and the insanity of the presentation carries it a long way.
The Long Walk - Not the only Stephen King adaptation of the year, but easily the best. Anchored by two strong lead performances, it is sort of astounding. The concept should not translate as well as it does, but it takes you with it, step by agonizing step.
Rental Family - Brendan Fraser is back to break our hearts again. This sees him in a complicated new job that he can’t quite handle, although maybe it’s the job that can’t handle him. A standout example of the beauty in everyday goodness.
Souleymane’s Story - One of many immigrant stories from this year, this one follows Souleymane as he prepares for his asylum hearing. It is so gripping in its realism that you find yourself feeling like you know a struggle you probably will never really understand. Perhaps the year’s best when it comes to pushing you into the eyes of the main character.
The Fantastic Four: First Steps - Not quite as exemplary as Superman or Thunderbolts, this is still a wildly successful foray into the MCU for Marvel’s First Family. Excellent casting, a meaningful story within the larger universe, and a backstory that doesn’t focus on unnecessary foundation are all parts of what make this movie work.
F1: The Movie - I don’t like F1 racing that much. I don’t have hate for it, but it just isn’t in the top ten sports I follow. I thought this movie would be a good sports film, but I didn’t really think I would personally love it. I was wrong, it is exceptional. Bringing Lewis Hamilton on as a producer gave the filmmakers unprecedented access to the F1 circuit, and it just lends an innate sense of authenticity to the whole proceedings. It would be hard to make a ranking of the best sports films of all time without including this somewhere in the top 25–it really is on that elite level.
Cloud (Kuraudo) - A scathing indictment of the reign of social media. A young man caught up in the hustle ends up pissing off all the wrong people. Kiyoshi Kurosawa is directing at an all-time high.
From Ground Zero - A collection of short films from filmmakers in Gaza. Of course there is a lot of sadness in the content, but it’s hard to not be more struck by the resiliency. This should be required viewing for everyone on the planet, sincerely.
Bring Her Back - Fucking terrifying. It will remind people in many ways of Hereditary, but frankly, it’s just more fucked up than that. It’s also much scarier than this Philipou brothers’ breakout film Talk To Me. Content like this doesn’t really bother me, and Bring Her Back is still A LOT for anyone to deal with.

It has a decent amount of physical horror, but it also works hard to keep the audience from being able to see everything that is going on. One of the main characters is legally blind, and a lot of the terror comes from the moments we are limited by her perception. Rarely does a film find so many different ways to make the viewer cringe.

The performances really sell this effect. A trio of impressive child actors and the best work of Sally Hawkins' career move everything along for us. Awards season can be a tough nut to crack for horror films, but it will be a real shame if she doesn’t get her due.
Bugonia - Yorgos Lanthimos and Emme Stone get their groove back. A Yorgos movie is always going to be a bizarre experience, but some of them get stuck on liftoff. This is the top end of his catalogue, and I eagerly anticipate rewatching it several times over.
The Legend of Ochi - There was this beautiful period in the 80s and 90s where all the best children’s fantasy movies were made, and filmmakers have been trying to recapture that magic ever since. The hypothesis that The Legend of Ochi presents is that this missing magic boils down to three simple variables:

1. Practical effects.
2. Adults being able to randomly start smoking at any given point.
3. Not letting the fact that the movie is for kids stop you from calling kids “assbags” when it comes up in the plot.

It is my humble opinion that they have officially solved the equation. It is an absolute delight. Catch it even if you don’t have kids, but if you have kids, under no circumstances should you rob them of the experience of seeing this one on the big screen.
The Shadow’s Edge - Jackie Chan and Tony Leung Ka-fai (aka Big Tony) come together as diametrically opposed forces. Both of their unique styles show through in this action-packed spectacle. I don’t know how this film slipped as far under the radar as it has, it is engrossing.
The Negotiator (Il Nibbio) - This is the true story of a hostage negotiator who was willing to sacrifice everything to rescue a kidnapped journalist. It is powerful and emotionally charged. It may not play like a blockbuster, but it is an intelligent conceptual thriller.
Caught Stealing - Darren Aronofsky has finally decided there is more to life than hurting his audience. He’s always been a great director, but it’s also great to see him finally making something fun. Austin Butler, Zoë Kravitz, Regina King, and Matt Smith all turn in outstanding performances.
The Toxic Avenger - A reimagining of an 80s cult classic, this exceeded all of my expectations. It took years to actually get to our screens, and for me at least it was worth the wait. It’s just wonderful to see anything made with the level of passion that clearly went into this remake.
It Was Just an Accident - Jafar Panahi has a habit of working with amateur performers in his movies, and it has never been more evident what he sees in them. He siphons the real world—real experiences—out of real people. This film manages to move at a mile-a-minute pace while everyone seems to be sitting on their own hands. It is a skillful mix, and there is something special going on with Panahi’s approach.
Familiar Touch - A look at aging—particularly aging in a way that your memory slips away—that will shake viewers to their core. It is largely directed at the elderly, but the manner in which the lead character Ruth lashes out against help will resonate with most people. It isn’t as bleak a movie as it probably deserves to be, and may well leave you with a more solid grasp on your place in the universe than you had going in.
Boys Go To Jupiter - The most unique approach to animation of the year, and a rousing success in that regard. This is a story of growing up in confusing times. It’s remarkable how much more clearly you can see certain aspects of our real world through a lens of absurdity.
Sisu: Road to Revenge - This film, as well as its predecessor, asks us two important questions.

First off: What would happen if we made an old Finnish guy have John Wick’s soul inside of him?

And, secondly: Is that old dude genuinely that good looking, or have we all just been conditioned to adore the concept of an old white guy who can shut the fuck up for two hours?
On Becoming a Guinea Fowl - A young woman in Zambia finds her uncle dead on the ground. This leads to a chain reaction of social consequences that are beyond anyone’s control. It is an excruciating experience to be clued in on, little by little, and it leaves the audience with a deep connection to the main character, Shula.
Magazine Dreams - This is the story of Killian Maddox—an obsessive body builder without many social skills to speak of. Jonathan Majors is enigmatic in the lead role, and your reaction to this film will be directly proportional to how much you enjoy his performance. I understand why many may not be willing to give the man another chance, but the actual result produced here is almost beyond reproach.
Twinless - A rather cookie-cutter frenemy presentation has the twist of a sexy dead twin thrown in. Well-acted all around, it hits on dozens of different emotions. The characters all manage to be just on the right side of sympathetic, at least to my eyes.
Wicked: For Good - This second installment really didn’t live up to the first one, but that didn’t surprise me. I’ve seen the Broadway play a couple times, and I always felt that the first act was superior to the second in those instances. In fact, I would argue that most great two-act climactic pieces have better first acts than second. The build to that climax is almost inherently better than the resolution will be. That doesn’t take away from the quality of the work as a whole.

Side Note: Ariana Grande never needs to go back to pop music. She has that 0.00001% voice that can skillfully maneuver notes that are too high for most of us to even hear correctly. The girl could sing in operas.
Chainsaw Man - The Movie: Reze Arc - The best big bloody anime of the year. Chainsaw Man is a thoughtfully written series overall, and they managed to work in this rather independent arc without damaging the series as a whole in any irreparable manner. Also, a guy cuts people in half with his chainsaw head.
Fairyland - The story of a girl growing up in San Francisco with her gay father during the height of the AIDS crisis, after her mother died. It’s more cheery than that sounds, but also heart-wrenching. Scoot McNairy turns in one of the best supporting performances of the year in his role as the father, Steve.
She Rides Shotgun - A grounded thriller with a dynamic relationship between Polly and Nathan—as portrayed by Ana Sophia Heger and Taron Egerton, respectively—anchoring the center of it. It leaves just enough mystique to keep the audience guessing. The result is a tense emotional rollercoaster that drags you along kicking and screaming.
28 Years Later - If you don’t like zombie movies, don’t bother. However, for my fellow zombie lovers, this is the best one in a while. A gigantic, horse-cocked villain running at full speed may distract some, but it really plays as part of the plot, for me.

I don’t love this franchise. It’s another one that I vaguely enjoy, but neither of the previous installments ever threatened to crack my top ten zombie films. This one, however? Arguably top three.

Don’t get distracted by the zombiecock, enjoy the ride.
The Day the Earth Blew Up! - Did you know that Looney Tunes had never had a feature-length fully animated film release in theaters? Like, ever? It makes a certain amount of sense when you think about it, but I still find it shocking.

Either way, it’s a smashing success. I feel like we all probably know what to expect from Looney Tunes, and this doesn’t break the mold. All the same, it is fresh and entertaining. No notes, just some lovely Looneyness for a new generation.
One of Them Days - You know a few years back when Booksmart came out and it was basically just a more well-written, female-led, updated for Gen Z version of Superbad? Yeah? This is that, but for the movie Friday.
Heart Eyes - Heart Eyes excels by simply not failing where those who came before have. There have been plenty of attempts at melding the genres of romance, horror, and comedy. They ALWAYS fall flat in at least one of those categories. More often than not, if they manage to succeed at mixing comedy and horror, they barely put any effort into the romance.

There are other examples where a film might nail the romance and the comedy and miss the horror, or horror romances that just try to be funny and miss the mark, but I really can’t think of an example of a film that succeeds in all three genres simultaneously. That is, until now. Heart Eyes is not necessarily great when just taken as a romance, or as a horror, or as a comedy. However, it would be a good film if just assessed in any one of those categories and THAT is what makes it a great film.
Sew Torn - Like Run Lola Run for a tiny mountain town, this is a meditation on the choices we make. Spectacularly led by Eve Connolly, the audience feels on her level almost every step of the way. Fantastical yet gritty, this flick has a mind of its own.
Stranger Things 5: The Finale- Is it technically an episode of television? Yes. Did I see it in a packed theater on opening nights as showings sold out around the country? Also yes. The grand finale to Stranger Things has triggered the regular haters, but for those of us who actually like things we are fans of, it was a delightful experience. A culmination of countless storylines and multiple universes all wrapped up with a bow on. Hellfire Lives.
It Ends - One of many ideas this year that was simple yet skillfully executed. A supernatural thriller that almost entirely happens inside one vehicle. It actually isn’t the only film that meets that rather specific description in 2025, but it is the best one.
Grand Theft Hamlet - Debatably the best thing that was a direct result of the pandemic. Two theater boys who also happen to play Grand Theft Auto in their spare time find themselves more bored than they have ever been before. The result? This wacky idea that morphs into something more potent.
Nouvelle Vague - I strongly suspect that Richard Linklater has never had more fun putting a movie together. His adoration of Jean Luc Godard is so palpable that it’s surprising he accurately portrayed him as a prick. It ended up beautifully, though. A film that is a love letter to filmmaking and filmmakers. Not a first, in that regard, but a solid addition.
Ash - This one is going to be divisive. I love it, but I understand why other people might dislike it. Flying Lotus is a musical icon already, but this was a big step in his cinematic journey.

One of the issues people will have with this movie is that it feels like it is borrowing a LOT from other works. The influences of the Alien Franchise, Suspiria, Edge of Tomorrow, the video game Prey, The Divine Comedy and many other previous works are heavily felt. What it reminds me of is the old academic quote “If you steal from one author, it’s plagiarism; if you steal from many authors, it’s research.”

To me, that’s what there is to see here: An obvious cinephile utilized his favorite aspects of other properties to create his own unique and original story and way of telling that story. It is Silver Screen dynamite, by my standards, but it certainly isn’t one I am going to tell anyone else how they should feel about.
Creation of the Gods II: Demon Force - The first Creation of the Gods film was clearly bursting with emotion, but not necessarily bursting with budget. That was rightfully reconciled for the sequel, and this adaptation of Investiture of the Gods takes a massive leap forward as a result. I hope they let Wuershan continue telling this story for as long as he desires.
Train Dreams - The Pacific Northwest and Joel Edgerton are both monuments to behold in this deeply American story of loss. It’s a rather simple story of a railroad worker making his way in the world, but it oozes the cold significance of belonging to a larger, more powerful world. It does justice to the excellent Denis Johnson novella.
Urchin - Frank Dillane turns in an outstanding performance that helps Harris Dickinson’s directorial debut land on its feet. It’s a disturbing look into the life of an addict. A subtle and steady storyline keeps the misguided characters moving along nicely.
Lesbian Space Princess - This is a very specific brand of LGBTQ+ humor. It will be the favorite movie of the year for many, and also I’m sure there are currently a thousand angry incels review-bombing it from their mothers’ basements. The bad guys are named “The Straight White Maliens”, and you should probably know from that one aspect whether or not this film will be the one for you.
The History of Sound - This film is heartbreaking. Thanks to impeccable chemistry between Paul Mescal and Josh O’Connor, it keeps you engaged. You may walk away feeling as if it has hurt you, so take that into account.
How to Train Your Dragon - Dreamworks finally took their shot at the live-action adaptation game, and they didn’t miss. I understand not necessarily being into How to Train Your Dragon, the original is genuinely not in my top tier of animated films. However, I do not understand how someone who was already familiar with the story of How to Train Your Dragon and signed up to see a live-action version of it could possibly be disappointed with pretty much any aspect of this re-creation.
Good Boy - A dog starred in a real movie. It’s a pretty run-of-the-mill haunting tale, but there is Indy. He is a Nova Scotia Duck Tolling Retriever, and he is the best boy. I will literally stop whatever I’m doing at any point in time and watch this film again.
If I Had Legs I’d Kick You - Would have probably been the most stressful moviegoing experience of the year if a Safdie brother hadn’t released a film. By far the best performance of Rose Byrne’s career, but I don’t know if I’ll be able to look at her the same ever again. If nothing else, this is valuable fodder for when you need to talk yourself out of having a child…or a job…or going outside…or staying inside.
Happyend - Amidst the tidal wave of capitalistic hellscape quasi-fiction coming out of Eastern cinema, it is nice to fit in a little coming-of-age story. Don’t get optimistic, the universe presented here is still bleak. It just also takes a magnifying glass to the truth that growing up is still growing up.
The Mastermind - Josh O’Connor is at the top of his game, and he does a lot of the heavy lifting in this really rather slow encounter. It is a very good film, and I understand why it may be a darling in some awards circles. I also grasp why it isn’t going over nearly as well with the general public as it is with critics. It is a cinephile’s movie, not necessarily meant for mass consumption.
Grand Tour - It really is a Grand Tour. Through history, through love, through filmmaking, and all around the world. You could ask 100 different people what this movie is about, and beyond “a man is running from his fiancée and she is chasing him” there will be no strong consensus. It draws you in and takes you for a ride, but you’ll find yourself a bit lost for words along the way.
Ne Zha 2 - This is the second film on this list featuring Ne Zha in an upgraded sequel at the heart of Chinese folklore (The first being Creation of the Gods II). It takes everything the original Ne Zha did and upgrades it. These are amongst the best animated films for children that are hitting theaters these days, I would put them on the same basic tier of the Kung Fu Panda films, which is not a particularly low tier.
Every Little Thing - A woman named Terry Masear lives in the heart of Los Angeles, and the main focus of her life is rehabbing injured hummingbirds. That’s it, that’s the whole pitch, but it is such a brilliant, moving experience.
Eephus - Somewhere between Major League and Portlandia, this clever little tale is all about a day at the ballpark. Are you looking for a movie where things happen? This might not be for you. Are you looking for an experience that is so quaint, charming, and self-aware that you don’t mind the lack of substantive action? You’re in the right place.
Highest 2 Lowest - This is a pretty decent Spike Lee joint, just taken at face value. Like so many of his stories are, it is about living while black in New York City, but what sets this apart is what it does as an adaptation. It is a pretty direct, modernized take on Akira Kurosawa’s High and Low, and in that respect it absolutely thrives.

I honestly don’t know how highly I would recommend this to someone who isn’t familiar with Kurosawa. It’s probably still enjoyable, but it is strongest in its role as a reinterpretation, and that is certainly the reason I adore it.
East of Wall - This isn’t a documentary. It isn’t shot in documentary style, and it should not be listed as such. It just also is so based in real life that you don’t feel the fourth wall as much as you would with the average silver screen tale. It’s gripping in how strongly it thrusts you into the community it shows the audience.
The Naked Gun - This movie punches way above its weight, thanks in large part to Liam Neeson’s deadpan delivery. It does justice to the original films, and also manages to stand on its own feet. It’s a movie night movie, if ever there has been one. Delightful stuff.
Fanon - Frantz Fanon, an individual who still deals with a complicated legacy in his homeland of France (as the turnout for this movie reflects, but that’s a whole different discussion). This shows the period in his life when he showed up in Algiers and frankly changed the world as we know it. So much about the way we approach treating people with medical conditions can be traced back to him, it’s a shame he isn’t more of a household name, much like it’s a shame this film slipped under the radar.
My Dead Friend Zoe - It really is extraordinary that this film doesn’t make you feel worse than it does. It feels like it confronts heavy situation after heavy situation, but manages to maintain a slow but steady trudge towards optimism all the same. All the major roles are acted spectacularly, and it comes together to form a testament to human healing.
Holy Cow (Vingt Dieux) - A hilarious and dramatic story about a young boy being thrust into manhood by the death of his father and subsequent responsibility for his little sister. It’s also largely about cheese. Clément Faveau has an inspired showing as Totone, and really helps to elevate this film to the elite ranks.
Lilith Fair: Building a Mystery - One of many nostalgic trips back to the 90s that documentary filmmakers take us on this year, this is an in depth look at the movement behind organizing the Lilith Fair tour. Not only was this a massive revolution for how women are treated in music, it also set the ground for pushing back against corporate cultural norms on a much broader scale. This film provides an intimate and in-depth look at a compelling moment in music history.
Kantara: A Legend - Chapter 1 - One of the highest grossing Kannada films of all time, this is a prequel to 2022’s Kantara. It is more heavily steeped in mythology than the original, but carries with it much of the same aura. If lore-heavy action is your bag, you should give Rishab Shetty’s universe a try.
Predator: Killer of Killers - The second (on this list, chronologically it came first) Predator entry from Dan Trachtenberg this year isn’t quite as outstanding as Badlands, but it does at least as much to help establish the universe he is helping to build. The cartoon anthology across time approach is a good way to get a ton of canon established in a relatively short time frame. This doesn’t feel rushed, and it functions as a rather stylish and large brick in the wall of this rapidly growing franchise.
Pavements - The 90s indie rock band Pavement has always had their own distinctive sense of humor. They like to screw with the general public in a way that helps their “real fans” feel like they are in on the joke. This documentary is the culmination of the joke, and it hits the nail on the head. I would recommend this to anyone who enjoys music, but if you even passively enjoy Pavement, it is must-see TV.
Sister Midnight - You should go into this film expecting nothing at all. I can tell you that it will make you laugh, I can tell you it’s about arranged marriage, and I can tell you it’s a lot more than those two things.
Igniting the Spark: The Story of Magic - The Gathering - This is documentary filmmaking operating at peak efficiency. The best informative docs make you feel like you’ve been hit with a giant wave of information. This is the type of rapid information input that is capable of taking someone from being entirely ignorant on a subject to genuinely possessing a well-rounded background of knowledge on that subject in a matter of a couple hours.
The Life of Chuck - Adorable is not usually a word that is associated with Stephen King adaptations, but this ain’t your standard King flick. There is some discussion of death central to the story, but it is more about existential pondering and less about killer clowns from the sewer or whatever.

Mainly, this movie is about dancing. Just dancing because you can. It is kind and charming. It wouldn’t surprise me at all to see this film gain a cult following over the years that is similar to (although probably not quite to the extent of) Forrest Gump. It really hits a specific vein that will always embrace some niche emotions we all have within us.
Riefenstahl - A character observation of a life in contradiction. Leni Riefenstahl was a Nazi propagandist who claimed to only have pure and innocent knowledge of their intentions. It is unpleasant to witness her, but there is reassurance to be found in seeing how much more obvious lies become once someone bothers to collect them and lay them out.
Lokah Chapter 1: Chandra - I’m going to be somewhat vague for this summation. There are very few comparisons or analogies I could apply here that wouldn’t also be major spoilers. If you like spooky action-thrillers, give this a try.
Splitsville - At face value, this seems like a pretty typical millennial rom-com with a polyamorous spin. What sets it apart is some sharp, witty writing. It’s not going to be a classic, but it is very solid.
Mistress Dispeller - A fascinating study of some nearly unfathomable interpersonal relationships. The dispassionate observance that is difficult to maintain in even basic documentaries is wielded like a sharpened blade. This is essentially the antithesis of American reality television.
Zootopia 2 - Another sequel that didn’t quite reach the heights of its predecessor, but still did well enough to fully justify its own existence. It’s superbly crafted, from the graphics, to the writing, to the voice acting. My only real complaint is that it is the type of movie that feels like the FBI actively wants me to be watching.
Kill Bill: The Whole Bloody Affair - Even if I’m not a huge fan of Quentin Tarantino the person, I do love most of his films. The Kill Bill duology was always pretty low on my list of his films. With that being said, I have to admit, it is much better when you get to see them back-to-back, as originally intended. It would be even higher on this list if it weren’t for the “bonus content” that was just a thinly veiled Fortnite ad.
The Surfer - The Nic Cageaissance continues. If you haven’t been keeping up on Nic Cage's late-career resurgence, you should be. This one is a little bit on the acid trippy side of his repertoire, but it isn’t half bad.

Here’s the story: Nic Cage used to be a big surfer. He wants to buy the beach house he grew up in back so that he can go surfing with his son. This motivation upsets literally every other character in the movie.
Deaf President Now - One of the hidden civil rights stories dotted along our timeline, this is an entire scandal that really got set up perfectly to be presented in documentary format. If you don’t already know about the scandal from the title, you should just go in blind.
The Black Hole/Must Auk - This bizarre little Estonian film won’t be for everyone, but it is one of the hidden gems of the year for us weirdos. It’s a triptych that isn’t quite like anything I’ve ever seen before. Low budget but charming. Ugly but hard to look away from. If weird little foreign films with aliens and perverts sound like your vibe, try and track down a copy of this one.
Macbeth: David Tennant and Cush Jumbo - Shakespeare is always at its purest when embracing a minimalist format, at least compared to modern productions. Needless to say, that makes it complicated to translate to the big screen. A lot of what I loved about this recording was due to their attempts to mitigate that issue.

For instance, they had an audience in headphones like a silent disco, so that they could record for movie-quality sound. The whole environment seemed to be focused on bringing out the best of both live theater and the recording process. Throw a few wildly talented actors in the mix, and it made for a hell of a show.
A Nice Indian Boy - Probably the most rom-com-y of the rom-coms this year. It does remind me of several other films, but I like most of those, too. The two lead actors have fantastic chemistry, and that is what always matters the most in this circumstance.

What’s your problem? You don’t want Dopinder to find love??
Springsteen: Deliver Me From Nowhere - This movie got a bad rap because of an important difference in approach from other recent music biopics. Bohemian Rhapsody, Rocketman, A Complete Unknown, The Dirt, and almost every other recent entry into this sub-genre has gone in with a common goal: Giving a broad, overarching view of the artist’s work as a whole.

Deliver Me From Nowhere isn’t that type of biopic. This one is for people who are already big fans of Bruce Springsteen. If you already love The Boss (Spoiler Alert: I do), you will love this flick. Jeremy Allen White is outstanding in the role, and there is very little to complain about in the entire production process. You just probably don’t need to worry about it if you can’t name three or more Bruce Springsteen songs off the top of your head right now.
Apocalypse in the Tropics (Apocalipse nos Trópicos) - A very practical look at Jair Bolsonaro, and the role that faith can have in elevating evil men. A tantalizing viewpoint of Brazil’s recent political history, that feels more timely than I wish it did. Horrifying, and hopefully not prophetic.
The Baltimorons - A film that is soft and gentle, and accepts the fact that being soft and gentle often comes with people trying to walk all over you. It is a meditation on frustration and purpose. Also, it should be added to your Christmas movie rotation.
Caught by the Tides - Jia Zhangke and Tao Zhao are one of the strongest director-performer duos in the planet, and this is them operating at their strongest. It’s a difficult movie to even explain, almost like taking a step back and looking at a whole love story at once. It’s also a movie that I think might mean something entirely different to you than it does to me. A veritable enigma.
When Fall is Coming (Quand vient l’automne) - Labelled as a comedy, it is an equally heartbreaking affair. It leaves you wanting more answers, but not in the way an unresolved film would, simply in the manner that life always does. Hélène Vincent is at her sparkling best.
The Colors Within - I personally find the storytelling presented in this film to be endearing and welcoming. However, I could understand not enjoying that aspect of it. Even so, it would be a worthwhile viewing experience, just for the transcendent visual experience. It may not be my favorite animation from the year, but it would be the first I would describe as “gorgeous”.
Lurker - A stunning directorial debut from Alex Russell that came out of nowhere. This movie has so much to say about friendship, loneliness, obsession, and control in a morally bankrupt digital age. You don’t want to identify with anyone in this film, but it grounds itself so strongly in our real world that you find yourself relating to all of them. It’s a disgusting experience that I highly recommend if you’re in a decent place emotionally.
Ocean with David Attenborough - I truly don’t understand how David Attenborough continues to tell me all these terrible things about the world, and then convince me in the last five minutes that he still has hope. Does he have hope? He seems like he is not lying to me, but he also just spent an hour convincing me the world is going to crumble into itself. Either way, amazing stuff.
Viet & Nam - A slow, intense, and intimate love story. You don’t necessarily expect a great LGBTQ+ love story from a Vietnamese coal mine, but I suppose that’s what makes it a good LGBTQ+ love story. You’ll have to lock in and pay attention to this movie if you want to get what you should out of it, but if you do, you’ll be rewarded.
Sly Lives (aka The Burden of Black Genuis) - A remarkably intelligent approach to telling the story of Sly Stone. Not shocking, coming from a director as brilliant as Questlove, but still wonderful to behold. You can’t tell the story of Sly without telling the story of how Sly kind of sucked sometimes, you can’t tell the story of how Sly kind of sucked sometimes without telling the story of the overbearing weight of being a black icon in the 60s/70s in America, and you can’t tell any of those stories without telling us how it all winds together. It’s a lot, and this doc gets it done.
Liza: A Truly Terrific Absolutely True Story - Liza Minnelli was never a particular hero of mine, but this film does what it can to convince me she should be. It may view her through rose-colored glasses a bit, but the filmmakers largely justify their adulation. If you love Liza, you will love this. So long as you don’t hate Liza, you will like this.
Bone Lake - Somewhat crazy that this got made. It’s much much better than I ever expected it to be. Half-slasher flick, half-softcore porn. It shouldn’t work as, like, an actual quality film. Yet it does.
Sacramento - Another of the several movies this year that had men getting proper mental health care as a central theme. This is the first Michael Cera role on this list, and it is really the biggest step I’ve seen out of him so far. Up until now he has just been playing Michael Cera the kid in a body that had grown into adulthood. This has the feel of his first actual big boy role, and it hits.

The film doesn’t reinvent the wheel, but it has some lovely moments and important conversations. Will definitely achieve some level of cult status and be a comfort for many.
The Phoenician Scheme - I really enjoy Wes Anderson, but I understand why his popularity is declining. He’s mainly a one-trick pony, and his influence on cinema as a whole is much more impactful than his recent films have been.

Still, I’m a fan, and this one brings a lot to the table for those of us who haven’t quite found him worn all the way thin yet. Michael Cera makes his second appearance in the last two films on this list, and he was clearly made for Wes Anderson films.

This movie has a high probability of boring everyone but Anderson diehards, but it is going to be a lowkey favorite in that ever-shrinking club.
Fréwaka - Palliative care meets demonic entities. This Irish language film is also steeped in Celtic folklore. Well directed, powerfully performed, and leaving juuuust the right amount up to the imagination. It’s not quite terrifying, but it’s right around the corner from terrifying.
Eddington - I had a great time watching Eddington. I plan on watching it many more times. It could have gone for losing about half an hour or any one-and-a-half individual storylines, but it didn’t lower the entertainment value.
Dust Bunny - This is absolutely going to be a cult classic. It’s heartwarming and angry all at once. It is a film for children whose parents let them watch anything. The costume and set design both get full marks. Mads Mikkelsen and Sophie Sloan have this adorable chemistry that is the heart of the film, leaving room for colorful characters like David Dastmalchian and Sigourney Weaver to dance around on the fringes. A hidden gem if ever I’ve seen one.
Architecton - This is Planet Earth for architecture. If you think that sounds mind-numbingly boring, you’re right. If you think that sounds mind-blowingly beautiful, you are also right.
Hi-Five - Such a silly time. A superhero dies and his organs go out for donation, resulting in new superheroes after the various transplants. A more ironclad storyline there never has been. Still, it is surprisingly well done across the board, and is just the sort of flick that puts everyone in a good mood.
Companion - Jack Quaid really shot for the moon the first half of this year, and he didn’t miss by all that much. He’s clearly capable of shouldering the work of a leading man, and Sophie Thatcher isn’t far behind him when it comes to breakout potential.

I consider myself really fortunate that I avoided the advertising on this one, because after looking back at it, they gave the audience way too much. An engrossing film, but it does have a slight tendency to wander. Strong performances all around carry it through.
Nuremberg - Although the storytelling can be clunky from time to time, it is carried through by nearly every performer maximizing what they were given. Crowe and Malek in particular shine. There is also a strong emphasis on historical accuracy, at least in the most crucial moments. History buffs and more casual observers alike with both largely approve.
Detective Kien: The Headless Horror - Damn shame a Knives Out movie was released this year. Otherwise, this would have been the best Agatha Christie-adjacent mystery. It wanders around from time to time, but never in a boring manner.
Infinite Summer - Estonian humor is a strange thing. I’ve seen more and more work coming out of that area, and I just think they might all be clinically insane. Don’t expect a huge amount of plot coherence on this one, that’s not what you watch it for. This is just some good old-fashioned weirdness, and the best way to take it in is just strap in and deal with what is happening in front of you.
Good Fortune - An ensemble cast and clever writing do a lot of the heavy lifting in a story that may fall on the more cookie cutter side of things. Another firm indictment of the culture of consumerism that drives our society. There’s something to be said for a film that doesn’t try to do too much, and that’s what this film gets done. Funny with a serious side, it doesn’t sail to the levels of brilliance some other entries did, but it doesn’t fall short in any areas either.

Also, it has a Keanu.
2000 Meters to Andrivika - Frontline reporting during wartime is some of the most important journalism that has ever been done. This look at the war in Ukraine is as close to the horror of war as it is possible to put on screen, and it is not going to be a pleasant watch for anyone. That doesn’t keep it from being one of the most important films of the year.
Mickey 17 - An adaptation of a concept that was going to be tricky to translate to the big screen, this one hits the mark more than it misses. It isn’t intended for mass appeal, but for anyone who has ever watched Starship Troopers for the politics, this will be right up your alley.

More satirical social commentary than sci-fi epic, this one won’t be what a lot of viewers expect. Don’t let your preconceptions of what you think this movie should be get in the way of enjoying a pretty solid flick.
Relay - This is a fun action/thriller that is elevated by some solid performances, particularly that by Riz Ahmed. He is one of the top names to watch in the next few years, as far as I’m concerned. He’s already flexed his acting chops in a few other films, but he may be a household name sooner rather than later, and a film like this is a step in that direction.
Misericordia (Miséricorde) - This one is difficult to put neatly in a box, as Alain Guiraudie’s films tend to be. A horny young man goes back to the small French village he was born in. He has a variety of complicated interactions with people around town. It is occasionally hilarious, and has a lot to say with the words that fall between the cracks. Fascinating work.
Snoopy Presents: A Summer Musical - A Summer Musical - I know, a 40 minute special that didn’t air in any theaters doesn’t really seem like it should qualify for this list. That argument is only going to get stronger when we get into the lackadaisical plot structure. What I’m saying is THESE SONGS. It’s been a long time since the Peanuts gang had any notable musical numbers, and this is just such a vibe. It had to qualify, reason be damned.
The Lost Bus - An absorbing take on a disaster film. What makes this worth the watch is the highly realistic portrayal of the 2018 Camp Fire in California, not to mention forest fires as a whole. The portrayals of the people starring in the middle of the fray have been quite a bit more heavily embellished (for instance, Kevin McKay is SO lucky that Matthew McConaughey decided to portray him), but it doesn’t keep the authenticity of the event from being striking and powerful.
Thank You Very Much - Andy Kaufman is just such an interesting subject, it is hard to know how well a documentary on him has been handled. I suspect this is about as well as it could be done, but also that’s because no one ever figured out what joke Andy was making for his entire life. The discussion about him is interesting enough that it warrants study, and this is a worthy entry to that research.
In Vitro - Just some terrifying near-future psychological horror. The actual movie itself isn’t difficult to watch, but it fleshes out the core of what makes you cringe well enough that it just sits with you. Another sign that Australia is ready for a jump to the big leagues of international film.
Bodyguard of Lies - It feels like a little bit of tread upon territory, but that is the only thing keeping it from being rated a bit higher. It’s a technically pristine documentary, working with strong logic and guiding the viewer through its thesis. If it was released a decade ago it would have been world changing.
Hallow Road - I’ve seen this one on a lot of people’s “worst of” lists for the year. I’m not particularly surprised by that, and I don’t even necessarily disagree with them. It is an extreme concept for a film, even if it is a rather simple one. Most of the film is just a couple in a car on a phone call with their daughter. It takes a lot of appreciation for the acting put forth by Rosamund Pike and Matthew Rhys to find it exceptional, but their performances made this a surprisingly good time for those of us who were able to fall headfirst into the idea.
Novocaine - Jack Quaid pops up again here. Before this year, he seems to have steered his career in the opposite direction of his parents, but the truth is that many of the qualities he is skilled at are similar to the qualities that made both of them megastars.

This movie is a great date movie for people who are a little too fucked up for a normal date movie. It’s cute, it’s brutal, it’s a good god damn time.
It’s Never Over, Jeff Buckley - A Jeff Buckley documentary that is exactly what a Jeff Buckley documentary should be. Beautiful, sad; not so serious that it steps on the joy, but still hits heavy. It is made with reverence, but not to the point of ignorance. Definitely inspired me to add some Buckley to vinyl collection—perhaps an album of his and another of his dad’s, just because I now know how much that would piss him off.
The Old Woman with the Knife - A really solid spin on some common assassin tropes. It’s brutal and would be a solid movie regardless, but the fact that the seasoned killer in a moral quandary happens to be a woman in her 60s is what really puts this one over the top. It has a poignant take one growing older and wiser while not taking focus away from the solid action film at the core of the production.
Strange Harvest - A really well made mockumentary that just could have been sooo much worse than it is. A low-budget true crime spin on something that is supposed to be genuinely scary is not particularly easy to pull off, and this is an excellent addition to a niche genre that underwhelms more often than not.
Bring Them Down - A bit of a slow burn, but an intense film all the same. It keeps the audience guessing to the extent the plot requires. Powerhouse performances from every major character, but none more so than Christopher Abbot and Barry Keoghan, who team up to really carry this film into exceptional territory. If you aren’t good with accents, go ahead and put the subtitles on for this one.
John Candy: I Like Me - It feels fitting that the simple presence of John Candy elevates this documentary to something special. In most tangible ways, this documentary doesn’t separate itself from something a substitute teacher may have thrown on in high school. The main distinction is that Candy’s feelings shine through the screen and wrap themselves around you—his big beautiful love as much as that sadness and hurt he tried to keep to himself. The result is a touching encounter with a lost legend.
Paddington in Peru - And, of course, never forget the marmalade.

Now for some yearly awards. Fifteen of each ought to do...

Best Lead Performance:

Indy - Good Boy
Eva Victor - Sorry, Baby
Helena Zengel - The Legend of Ochi
Timothée Chalamet - Marty Supreme
Lee Byung-hun - No Other Choice
Miles Caton - Sinners
Rose Byrne - If I Had Legs I’d Kick You
Hélène Vincent - When Fall is Coming (Quand vient l’automne)
David Corenswet - Superman
Eve Connolly - Sew Torn
Leonardo DiCaprio - One Battle After Another
Wagner Moura - The Secret Agent (O Agente Secreto)
Théodore Pellerin - Lurker
Keke Palmer - One of Them Days
Clément Faveau - Holy Cow (Vingt Dieux)
Kathleen Chalfant - Familiar Touch (because I wasn't going to kick anyone off for a pupper, even if he was the goodest boy)