By George & Josh Bate
Every year great movies go under the audience’s radar. And every year great movies fail to get the recognition they deserve. In this list, we breakdown the 15 most overlooked and underappreciated movies of 2025.
Neighborhood Watch
This psychological thriller meets buddy dramedy grossed just $35K at the box office and sits at a respectable 70% on Rotten Tomatoes, but both of these metrics do a disservice to a compelling film filled with poignant mental health commentary and real heart. After various performances that failed to get us to see what all the hype about Jack Quaid was all about, the actor delivers a career-best, awards-worthy turn in a role that approaches serious mental illness with kindness and empathy and that allows Quaid to flex a variety of different acting muscles. Quaid’s screen partner Jeffrey Dean Morgan similarly produces a winning performance as a bitter ex-security guard who grows to understand and care for Quaid’s character over the course of the film. Although the central mystery compels without breaking new ground, the ultimate triumph of Neighborhood Watch lies in the relationship between Quaid and Morgan’s characters, which proves to be as touching as it is humorous. As a psychological thriller, Neighborhood Watch works well, but, as a buddy dramedy, it overwhelmingly excels and will leave a lasting impression.
Read our full review of Neighborhood Watch here.
Hell of a Summer
The same year that he headlined the biggest show of 2025, Finn Wolfhard also starred in, co-directed, and co-wrote a funny and subtly heartfelt slasher – Hell of a Summer. The NEON release received mixed reviews from critics, currently sitting at a 49%, but excels in the execution of its central murder mystery, myriad of funny one-liners, and strong lead in Fred Hechinger.
Rebuilding
Josh O’Connor is receiving well-deserved attention and acclaim for his turn in Wake Up Dead Man: A Knives Out Mystery, but the English actor similarly shines, albeit with a more understated performance, in Rebuilding. Although likely not to everyone’s taste given how quiet and meditative it is, the sophomore feature from Max Walker-Silverman excels as an uplifting movie about resilience and finding happiness in the wake of devastation. A reserved performance from O’Connor that relies on neither dialogue nor overt mannerisms aids in how moving Rebuilding is and impresses with how much mental anguish can be conveyed without an actor’s most commonly applied tools. Faltering execution of its ending aside, Rebuilding is yet another vehicle for the ever-expanding talent of O’Connor and a film that, in our rather dour times, we all desperately need.
Read our full review of Rebuilding here.
The Carpenter’s Son
Sitting at a surprisingly low 33% on Rotten Tomatoes, The Carpenter’s Son deserves far more attention than it has received. A blend between a horror movie and coming-of-age story, writer/director Lotfy Nathan’s film uses gorgeous, minimalistic visuals shot on 35mm to capture an often-underexplored period of Jesus’ life. Populated with disturbing imagery and even more disturbing themes, the film is unabashedly a horror film that will appeal to genre fanatics, perfectly fits within the pantheon of horrifying tales of The Bible and Christian culture, and delivers the most unnerving and subversive portrayal of Satan in recent years (largely courtesy of Isla Johnston’s brilliantly unnerving performance). Noah Jupe, meanwhile, triumphs in taking on the greatest acting challenge of his career to date, delivering a deeply emotive and dialogue-light performance as an adolescent Jesus grappling with his identity, faith, and parentage. Nicolas Cage and FKA Twigs play Joseph and Mary respectively with similar craft and grace, rounding out four superb central performances that are attuned to the tone Nathan aims for. The Carpenter’s Son may meander for too much of its brief runtime, but largely overcomes this issue thanks to its original narrative, strong performances, approachable themes, and full-hearted embrace of the horror genre.
Read our full review of The Carpenter’s Son here.
The Plague
Capturing the cruelties and anxieties of adolescence with disturbing accuracy and the sensibilities of a horror movie, The Plague is a stirring and thought-provoking debut feature from writer/director Charlie Polinger. A piercing score from Johan Lenox and directing that evokes Full Metal Jacket and Black Swan more than adolescent films like Ferris Bueller’s Day Off and Lady Bird foster a film that slowly burrows under your skin and leaves a lasting, disquieting impression. Three remarkable child actor performances from Everett Blunck, Kayo Martin, and Kenny Rasmussen give The Plague a decided rawness and accuracy, with characters that are the definition of nuanced. Culminating in a fittingly grounded yet nonetheless disturbing finale, The Plague may not transcend its unflinching portrayal of adolescence into something more profound or substantive, but evokes strong emotion and vivid memories to childhood regardless.
Read our full review of The Plague here.
Good Fortune
Despite strong reviews, Good Fortune flew under the radar, grossing just $26 million from a $30 million production budget. Aziz Ansari mounts a career comeback with the film though, crafting a clever, witty, and genuinely funny comedy with something poignant to say. Serving as an incredible vehicle for Ansari’s writing, acting, directing, and producing capabilities, the new Lionsgate release hooks with an interesting premise that blends Freaky Friday and Trading Places with A Christmas Carol and It’s a Wonderful Life. The film sports three superb comedic performances from Ansari, Seth Rogen, and Keanu Reeves, the latter of whom embraces the dopey yet endearing sensibilities of Ted from Bill & Ted. Story developments see Ansari awkwardly relegated to the side for much of the second half, although the buddy antics between Rogen and Reeves that this affords are worth the price of admission alone. In a bold move, Ansari couples his film’s consistently funny sense of humor with poignant messaging about wealth disparity, difficulties making ends meet nowadays, and the ‘money can’t buy you happiness’ sentiment. Ansari offers a far more nuanced take on these themes than the likes of Trading Places in showing, both in humorous and dramatic fashion, how unlivable life has become for so many. Unfortunately, Good Fortune fails to match its strong commentary with a bold, more subversive ending, instead landing in a fairly predictable and safe place. This ending, however, doesn’t diminish the vibrant heart and good intentions of the film, which are felt strongly throughout. Good Fortune hits hard with its comedy and commentary, making it a film as funny as it is relevant.
Read our full review of Good Fortune here.
Silent Night, Deadly Night
The remake of the 1980s holiday slasher classic will pull in approximately $2 million at the domestic box office but seems to be flying perplexingly under the radar by many. That’s a shame, because Silent Night, Deadly Night may just be our pleasant surprise of 2025. Unlike the previous films in the franchise, Mike P. Nelson’s remake takes itself seriously and plays more like a contemplative character study than a traditional slasher. Rohan Campbell does excellently as Billy Campbell, a disturbed young man whose full psychological make-up and motivations interestingly reveal themselves more slowly over the course of the runtime. Interacting with a Venom-like inner voice gives audiences a chance to get literally inside the mind of Billy and care for him on a deeper level, while the romance that blossoms between him and Ruby Modine’s Pamela proves to be surprisingly endearing and organic. Although the slasher elements may be a bit tame for the post-Terrifier era, Nelson still knows how to have fun with his movie, which especially comes through in a crazy, sprawling, on-the-nose kill sequence in the middle of the film. A subplot involving a second serial killer remains too peripheral for much of the film and resolves far too predictably, but an ambitious swing to introduce added lore to the story pays off. Silent Night, Deadly Night takes the barebones of the 1984 holiday slasher and puts a clever spin on it, one that sees the film subvert expectations as a more dramatic character study than run-of-the-mill slasher.
Read our full review of Silent Night, Deadly Night here.
Him
Him failed to make a profit and sits at a rather disappointing 30% on Rotten Tomatoes. While the sports horror film failed to resonate with many, we found it to be a refreshing, abrasive, sensory, and psychologically taxing endeavor. Kinetic directing from Justin Tipping, filled with piercing sounds, abrupt edits, and uncanny imagery, makes the Jordan Peele-produced film a visceral and palpably anxious viewing experience that proves more effective with its psychological terror than its myriad of routine, hallucinogenic horror movie scares. Although its commentary on toxic masculinity and pursuits of greatness lack subtly, they nonetheless strike a chord and interestingly reflect real issues. A commanding, physical lead performance from Tyriq Withers ensures that great emotional depth and insecurity shine through facial experiences and body language alone, while Marlon Wayans chews up the scenery in crafting a truly memorable horror movie villain. Disappointingly, the film fumbles in the end zone with a conclusion that prioritizes spectacle over narrative substance and leaves intriguing elements of its reveals underexplained. Horror is the rare genre that, when done correctly, fosters a visceral, physical reaction in its viewers. Unlike many horror outings nowadays, Him does exactly that.
Read our full review of Him here.
Inside
This Australian prison drama starring Guy Pearce and Cosmo Jarvis seemed to fly under everyone’s radars when it had its North American premiere at Tribeca in June, followed by a limited theatrical release. Inside may not break new ground as yet another prison drama but manages to escape from the potential pitfalls of conventionality with understated characters and unrivalled authenticity. After overcoming a somewhat slow start, writer/director Charles Williams’ feature debut gains momentum with a plot that sees a long-incarcerated prisoner (Guy Pearce) mentor a 17-year-old prisoner (Vincent Miller) to kill another inmate (Cosmo Jarvis). While the story proves compelling, the infrastructure it provides to the film proves more affecting as it allows for the development of a complex and perplexingly heartfelt relationship. In his very first on-screen credit, Vincent Miller triumphs with a performance that doesn’t rely on dialogue or showy expressions of emotion, but, rather, utilizes every minutia of detail in the human face to elicit emotion and provoke thought. Guy Pearce, meanwhile, is similarly superb in delivering a nuanced performance that also raises questions of viewers’ moral character. All of this culminates in an uncannily powerful ending that elevates the film from compelling drama to masterful depiction of humanity and empathy. Mirroring the preceding film, the ending doesn’t go big or loud with emotions, instead allowing subtle features to convey strong emotions in more subtle and authentic ways. A testament to the film’s lasting impact, we haven’t stopped thinking about the ending of Inside and what it has to say about human kindness, potential, and redemption.
Read our full review of Inside here.
Opus
It’s baffling to see why A24’s Opus failed to click with audiences. The psychological thriller from writer/director Mark Anthony Green has the magnetic John Malkovich have so much fun as a pop musician-meets-cult leader, great music from Nile Rodgers and The-Dream, and unsettling vibes from beginning to end. The film takes the question, “What would happen if the biggest pop star of the 1980s and 90s became a crazy cult leader?” and runs with it, culminating in a chilling end and backed by a solid lead turn from Ayo Edebiri.
Locked
It’s astonishing that a psychological thriller as tense and taut as Locked grossed just $4.1 million worldwide and sits at a 36% on Rotten Tomatoes. Locked puts a refreshing spin on the prison break genre by following a man locked inside a car desperate to escape. Palpably intense and enduringly suspenseful, the film from Brightburn director David Yarovesky grips from the very beginning and never lets go, a particularly admirable feat given the entirety of the film takes place within the confines of a car. A sharp script from Michael Arlen Ross not only takes full advantage of this brilliant premise but also taps into unexpectedly poignant social commentary through conversations about class and systemic injustice between the lead characters. Anthony Hopkins triumphs as a delightfully twisted kidnapper, while Bill Skarsgård affirms why he has some of the best acting range in the industry currently. Although there isn’t enough novelty, filmmaking craft, or emotional weight to elevate the film beyond being much more than an entertaining psychological thriller, Locked captivates from beginning-to-end and serves as the perfect kind of light entertainment with a surprising touch of substance.
Read our full review of Locked here.
Tron: Ares
It’s become tradition at this point for the Tron franchise for its installments to underwhelm critically and financially upon release, only to be reappraised more positively and earn cult status years later. We think Tron: Ares is destined for the same fate. Grossing approximately $142 million off of a $180-220 million production budget, and bolstering a mediocre 54% on Rotten Tomatoes, Tron: Ares was overlooked by many, but, for us, it’s a modern sci-fi masterpiece. Breathtaking visuals and stunning action sequences, in particular a mid-film chase through a crowded city, are accompanied by a pulsating score from Nine Inch Nails that gives the film a rhythm and plays such a significant role that it is essentially a character unto itself. A compelling corporate espionage narrative gives Ares an interesting and accessible re-entry point into the franchise that both has reverence for the previous films and remains extremely approachable for those who have never seen a Tron movie before. Attempts to explore themes of identity and mortality, however, fail to provoke the kind of contemplative questions and thoughts intended by the filmmakers. Similarly underdeveloped are the film’s array of characters, namely Ares, who is brought down by a stiff performance from Jared Leto. Greta Lee and Evan Peters, meanwhile, excel with the limited material they’re given, while Jodie Turner-Smith stands out as a committed and unsettling antagonist. Tron: Ares may not have the characters to back up its impressive visuals and sounds, but it triumphs as a dazzling, accessible sci-fi adventure that, after years of not being too interested in this franchise, has made us fans of Tron.
Read our full review of Tron: Ares here.
The Rule of Jenny Pen
The Rule of Jenny Pen takes elder abuse, an already horrifying concept, and uses it as the foundation for one of the year’s most haunting and disturbing horror movies. John Lithgow is perhaps more frightening than ever with a villainous and unhinged performance as a man covertly abusing other residents of a elderly people’s nursing home. Stephen King called the film, “One of the best movies I’ve seen this year,” and, while we won’t go that far, the film certainly deserves more attention than it’s getting. Fans of nasty, contained thrillers will eat this one up.
Presence
Leave it to Steven Soderbergh to breathe surprising new life into the centuries’ old ghost story genre. Filming entirely on a Sony mirrorless camera and unfolding exclusively from the first-person perspective of a ghost, Presence is unlike any ghost movie you’ve seen. The film unfolds like a series of mini-plays, with long scenes featuring no edits depicting key events in the life of a family overseen by a mysterious supernatural force. The movie takes some time to get moving and will certainly test the patience of many but ultimately excels with its innovative filmmaking, intense ending, and subversive approach to a ghost story.
A House of Dynamite
Kathryn Bigelow’s A House of Dynamite wasn’t the Oscar darling Netflix hoped for, but the film was, for us, the scariest movie of 2025. It’s the kind of film that reminds you just how fragile our existence is. Bigelow has proven to be a master of the political thriller but, here, ramps things up a notch by telling a disturbingly realistic tale of how nuclear war could begin in a heartbeat. The ending frustrates with its ambiguity and the three-act structure depletes the film of some of its palpable intensity, although it is undeniably necessary viewing nonetheless.
Magazine Dreams
Magazine Dreams went woefully overlooked due to the controversies surrounding its leading man Jonathan Majors. From its disturbing narrative, bleak tone, heavy themes, and controversial leading man, the film is an exercise in discomfort that progresses from scene-to-scene with hardship-after-hardship for its main character. As some viewers will wrangle with the morals of separating art from its artist due to Jonathan Majors’ controversies, Elijah Bynum’s film also has viewers contemplate the direction of their moral compass as empathy builds for a character destined for mass violence. Concurrent with this audience dissonance is a thoughtful exploration of celebrity and the self-destruction that can result from buying into its allure. Most effective, however, is the film’s portrayal of chronic loneliness and the resultant sadness fostered. While extraordinarily effective in the uncomfortable emotions it elicits, the psychologically taxing nature of Magazine Dreams leaves little room for audience emotion beyond sadness and empathy and, in turn, is perhaps too tiring and simplistic. Additionally, an unexpected and somewhat unearned ending, while inspirational, lacks the proverbial dramatic punch of the proceeding film, which is marked by a powerhouse Oscar-worthy performance from Jonathan Majors that alone makes Bynum’s film worth watching. Discomfort is palpable while watching Magazine Dreams, a sentiment that poetically and unintentionally matches the discomfort that comes from watching an actor marred by great controversy deliver one of the best acting performances in years.
Read our full review of Magazine Dreams here.