This film about an RV trip that finds itself in shambles has class. It has karma, symbolism, and eye-opening lines. At moments it is quirky, but chilling in the scares. Passenger soars. The momentum is gradual and audacious. The forest settings are surreal. The plot is promising. Best of all, it is not so predictable. There are hidden gems that spiral ferociously in Passengerwhile. demonic moments of evil linger.
The movie is directed by André Øvredal and written by Zachary Donohue and T.W. Burgess. These writers have backgrounds that began with short films. This one is Burgess’s first main feature. Their creative minds are determined to haunt viewers in Passenger. The RV plays a starring role in Passenger during a romantic getaway where nightmares abound, and the story takes compelling turns.
The film is about a couple, Tyler and Maddie (Jacob Scipio and Lou Llobell) who are on the road to an engagement. Tyler lives for his RV and Maddie goes along with it. Before their adventures the film introduces audiences to a scenario involvinga car accident. That spirit then follows Tyler and Maddie. The karma from those events continues to follow Tyler and Maddie. It is likely to make this RV excursion their last one.
There are moments of imagery in the film where Maddie feels like they’re being followed. Someone is painted to appear menacing, and he is. However, it takes time for Tyler to get caught up with this lingering component in their travels. The film transitions to focus on their relationship. I appreciated that part of the story because I feel relationships do not always have a strong focus in a film like this. Fortunately, their relationship is explored in various parts of Passenger.
There is a line that gets crossed frequently in the film. I felt the adventures they faced on the road trip stirred both horrid and good questions during the ride. There is no happy way out. There are lots of twists and turns, but the way they stick together makes it enjoyable yet not amazing. Three out of four stars for Passenger.
Criminality and conspiracies connect in Carolina Caroline. The Chicago Critics Film Festival took on an insane, spellbinding ride filled with robberies and new identities. A new life is possible, but the consequences stir up many elements along with a wide range of emotions. Directed by Adam Rehmeier, Carolina Caroline is unsettling. But the limits are set in a way that makes the finished product as cinematic as possible. Once the crimes get rolling, the hotter the conflicts get. I was boiling in my seat with this surreal ride of unexpected altitudes. While I watched, it felt like being on plane reaching unforeseen heights.
The film stars a couple, Caroline (Samara Weaving) and Oliver (Kyle Gallner). Caroline is searching for her lost mother. However, she has fallen in love with a man who teaches hervarious ways to get rich by cheating the system. Their issues get increasingly more serious as they get wealthier by robbing banks. Soon their trail catches up to them. They may have felt satisfaction at first, but is Caroline truly happy? Is this run formoney going to bring her any form of real joy? Will it bring her closer to her mother? How far will she go with Oliver?
This is a mesmerizing portrait of what it means when someone must draw the line. It also displays the reasons they stop while they are ahead. Caroline feels like Oliver is her only way out, but deep down she has more to offer. She can start over, but that will be harder considering the many crimes she has been involved in. This film is a wild ride of deceit and crime, and the consequences do not lie. Three-and-a-half out of four stars for Carolina Caroline.
Film Critic Tarek Fayoumi standing outside the BFI IMAX in London
2025 was a wild ride for film lovers. Scores of great films combined with competition among studios resulted in many special cinematic moments to cherish for years to come. Last year also included many unforgettable scenes and notable accomplishments. From a film with Leonardo DiCaprio running around in his bathrobe to Dylan O’Brien playing twins finding connection, 2025 offered spellbinding experiences which led to strong emotions that will linger for years. These are my top 10 films of 2025.
The first film is One Battle After Another. This is by far one of the most creative, prolific, yet comedic films I have seen by the well-known director Paul Thomas Anderson. So many moving parts come together at once and still manage to maintain a humor-filled vibe along with plenty of political espionage. One Battle After Another is a sensational ride of madness and fun. It is daring, and lethally action-packed. Mayhem is around every corner, and the misdirection is attention-grabbing. There are many unexpected punches to the face that keep audiences wanting for more.
The second film is Twinless. Director, writer, and actor James Sweeney presents a touching film about disconnect and the need to find a replacement. Sweeney is the master of emotional writing and turmoil. Twinless twisted my emotions to the core. The performances of Sweeney and O’Brien are insanely audacious. Love and grief find common ground in thismesmerizing portrait of appreciation. The title reminds audiences of the power of wishful thinking. Despite the hard truths of the film, the wonders of love are a revelation. Twinless delves into grief looking to be relieved. O’Brien and Sweeney are a dynamic duo trying to combat grief after the loss of their loved ones.
The third film is Hamnet. This is a powerful, transformative movie about the world of Shakespeare. Political themes play out in a medieval era filled with dynamics of power, love, and loss all performed on a stage. Hamnet is a thought-provoking portrait of challenges and turmoil in situations that should be black and white. The conflict between good and evil leads to connections and brilliance on stage. As one who loves theatricals, I was blown away by two things during this film. First, the chemistry between the main characters. Second, the effective portrayal of powerful emotions. Hamnet is well-written and demonstrates the human emotions of sadness and grief.
The fourth film is Rental Family. From the mind of director Hikari comes a mesmerizing and diverse portrait where some unique connections are found. Rental Family focuses on a character with a struggling career who decides to take a different path—one that requires having a heart. Brendan Fraser delivers one of the best performances of 2025, and ultimately one of the best of his career. Rental Family is a unique film that blends diversity and human connection to create parallel values and deep context.
The fifth film is Sorry, Baby. Eva Victor is the writer, the director and the lead in Sorry, Baby. She gives everything to this performance. Her mental awareness and her ability to portray disconnect are impressive as she shines in displaying both stress and relief. It is built upon a foundation of the steps it takes to move forward. The result is a landscape of trial and error that paints a clear picture of what it means to go with a gut-feeling.
The sixth film is The Baltimorons. This film is an absolute gem in which connections are found in unlikely places. It is a masterclass of comedy based on finding meaning after loss. The Baltimorons is a Christmas miracle from the mind of Jay Duplass. Co-written by Michael Strassner who is also the lead in the film, The Baltimorons relies upon a formulaic approach involving someone trying to cope with disconnect on Christmas Eve. I have long admired Duplass. In this film, he showcases the human ability to thrive in the face of loss. I adore The Baltimorons for its focus on someone dealing with personalfrustrations while also trying to bring happiness to others.
The seventh film is Marty Supreme. One-of-a-kind and authentic, this movie features one of Timothee Chalamet’s most mesmerizing performances. The film is like a ping pong match that you can’t take your eyes off. Writer and director Josh Safdie creates a film that is a few notches down from the stress of Uncut Gems and not aimed as much at gambling. This time the story highlights earning money through competition and building a reputation.
The eighth film is Wake Up Dead Man: A Knives out Mystery. Writer and director Rian Johnson is back with another installment, and this one may be the best of them all. The clues, the people, the egos, and the matters all make these mystery thrillers so fanciful and wonderful. It shines especially bright with Daniel Craig reprising his role as Benoit Blanc and bringing out laid-back detective mannerisms. At the same time, Craig’s character has the personality to solve the case by putting the pieces together one-by-one. The whole film is an exciting ride filled with questions, humor, and fun set in a church this time around. The wrongdoings have a lot to do with faith and fate—but also community involvement comes into the equation. Wake Up Dead Man: A Knives Out Mystery showcases a pattern of realizations created to blindside audiences with clever writing. Johnson is a genius.
The ninth film is Jay Kelly. Noah Baumbach’s films always spark human emotions because his writing creates moments in which audiences experience sadness. When directing films about divorce like The Squid and the Whale and Marriage Story, he painted portraits that show how everyone is impacted in these situations but still deserving of empathy. Baumbach has also directed films on family dynamics like Margot at the Wedding and Kicking and Screaming in which he carefully establishes that there is a level of disconnect. In his newest feature, Jay Kelly, there is disconnection from life due to fame. This film takes a more lighthearted approach with joyful scenes, while still being sad.
The tenth film is Frankenstein. The mind of Guillermo del Toro finds creative connections in a powerhouse effort which includes wonders of cinematic imagination unlike any other. From the worlds of Pan’s Labyrinth, The Orphanage, and Pinocchio, he creates new meaning with Frankenstein. In this film, the emergence of light evolves, but the political aspects regarding humanistic value fall between the cracks.
Film Critic Tarek Fayoumi standing next to a projector at BFI Southbank in London
2025 was a ride full of fantastic films. With all the films on my list being seen in virtual or digital form, I felt a sense of increased empathy in 2025 stemming from the themes of these impressive films. The external landscape in 2025 felt overwhelming at times, but ultimately there was a respite available in cinematic surroundings in every week. Staying upbeat was difficult at times, yet luckily in movies empathy was still alive in 2025.
Movies with Tarek 