Film festivals are an unpredictable, choose-your-own adventure journey; the Toronto International Film Festival’s 2025 lineup includes 291 unique titles to choose from. Which is to say that no two people will have the same journey.
Slice-of-life with a dash of sci-fi is basically film catnip for me, so when perusing the hundreds of films on offer at the Toronto Film Festival 2025, I was immediately drawn to the description of Rose of Nevada.
Zach Cregger’s Weapons elevates a simple missing children premise into the year’s best horror film through masterful ensemble storytelling and world-building that rivals Stephen King at his peak.
In a cinematic landscape increasingly dominated by big-budget algorithm-driven content, The Naked Gun (2025) arrives as both throwback and revelation—a clever spoof that understands the sacred geometry of the perfect gag while expanding its scope beyond police procedurals.
This Marvel outing commits the cardinal sin of being not only predictable but, even worse, boring.
Aster’s latest marks a nice bounce-back
James Gunn delivers the first Superman film that actually feels like the comics, complete with Krypto, perfect casting, and pure superhero joy.
This Karate Kid works best when it abandons its franchise obligations altogether
After Danny and Michael Philippou’s electrifying debut Talk To Me (2022) redefined possession horror with its brilliant blend of anxiety and supernatural dread, anticipation for their follow-up reached considerable heights (at least they did for me). Bring Her Back shoulders the burden of that promise—and unfortunately, shows just how tough it can be to follow a breakthrough first film.
Coogler has delivered a film that marries horror convention with cultural interrogation in ways that feel both audacious and essential.
Soderbergh’s best film in years
In his follow-up to the Oscar-winning Parasite, Mickey 17 highlights a growing weakness in Bong Joon Ho’s Hollywood output
When Leigh Whannell helmed The Invisible Man in 2020, he transformed a century-old monster story into a searing commentary on domestic abuse and gaslighting. His contemporary reimagining of an abusive man who can’t be seen proved that sometimes horror is most terrifying when it doesn’t feel supernatural at all. With Wolf Man, Whannell faces an even steeper challenge – and unfortunately, this time the transformation isn’t quite as complete.
James Mangold resurrects his Walk The Line formula for one of music’s most iconic figures, to everyone’s detriment.
Atlanta has made its voice heard for 2024 in film
