2025 in Review: Top 10 Best Songs

In this day and age of AI-generated music and algorithm-driven charts, there is so much—quote, unquote—slop that it is easy to think there is little actual creativity left out there. This is one reason why most people would rather fall back on the nostalgia of songs from years past. But I am here, as I was in previous years, to highlight a few personal gems from the 2025 music scene. Ten to be specific. You can thank me later.

10. Huntr/x - Golden

If there was one thing that completely dominated music and pop culture this past year,  then it was surely Kpop Demon Hunters. And of all the songs from the hit Netflix animated musical, Golden is the one that best exemplifies its mass appeal, with its catchy melodies and sing-along-inducing chorus.

9. Seyi Vibez - Shaolin

Not many songs managed to stay seared in my memory in 2025 the way Shaolin by Seyi Vibez did, which is remarkable in itself since I wasn't all that familiar with his music prior to it finding its way into my YouTube recommendations. But I'm a simple man; I see a music video channeling old kung fu movies and the War Boys from Mad Max: Fury Road, and I'm automatically sold.

8. Architects - Blackhole

Move over, Falling in Reverse, because the award for the most cinematic music video I saw this year goes to Blackhole by Architects. Set on an oil rig in the middle of a massive tropical storm, it has the kind of VFX that low-budget Hollywood movies would kill for. The song itself goes quite hard, too, in typical Architects fashion. 

7. Robbie Williams - Rocket (feat. Tony Iommi)

2025 was supposed to be the year we finally got a new album from Robbie Williams. But in the face of a Taylor Swift-sized asteroid, Britpop was moved into 2026. At least we still got singles like Rocket to tide us over until then, featuring the legendary Black Sabbath guitarist with riffs that sound like a throwback to simpler times.

6. Yungblud - Zombie

Not to be confused with The Cranberries' song of the same name, or its more recent cover by Bad Wolves, Zombie is a wholly original rock ballad by Yunglud. The fact that it sounds like something you would hear on the radio in the mid-2000s only adds to its charm, an appeal that has earned it a Best Rock Song nomination at the Grammys.

5. Taylor Swift - Opalite

It's fair to say that almost any song from Taylor Swift's The Life of a Showgirl could have occupied this position on my list. But if I had to pick one that perfectly captures the carefree nature of the album as a whole, then it has to be Opalite. And as the kids and younger Swifties would say, the song is, quite simply put, a bop.

4. Lady Gaga - Abracadabra

There's a version of this list in my head where Abracadabra by Lady Gaga is number one. I mean, even my Spotify Wrapped would suggest as much. But regardless of where it has landed, it is the song that had longtime Little Monsters like me belting out the loudest as we attempted to cast our spells on the night, as instructed.

3. The Weeknd - Open Hearts

Speaking of spells, The Weeknd was certainly casting a few of his own this year, judging by how mesmerizing his song, Open Hearts is. But it is hard to even talk about that song without also shouting out Baptized in Fear, the track preceding it on his Hurry Up Tomorrow album, if only for that smooth, seamless segue.

2. Ed Sheeran - Azizam

I always appreciate it when a song perfectly captures a feeling so strong that it transcends language barriers. And with Azizam by Ed Sheeran, the track taps into a Middle Eastern (Persian to be specific) well for inspiration. The result is an endlessly danceable ode to falling in love and the exhilaration that comes with that feeling.

1. Lady Gaga - LoveDrug

When Lady Gaga released Mayhem back in March, I could very quickly tell it was going to be my favorite album of the year. And out of all the songs on the album, LoveDrug is the one I found myself returning to the most. Mind you, this wasn't a case of love at first sight (listen?), as there were definitely other songs that could be considered catchier.

But with each subsequent listen, it further sank its hooks into me until I was wholly consumed by it. Perhaps it was its 80s-inspired arena rock riffs and synths, or the fact that it has one of the biggest, most memorable hooks on the record. Whatever the case, LoveDrug is here to stay, and it is easily my favorite song of 2025.

2025 in Review: Top 10 Best TV Shows

As the streaming wars settle into a phase marked by consolidation and acquisitions, many are rightfully concerned about a future shaped by a potential Netflix monopoly. But judging by the output of new and returning shows in 2025, the overall marketplace appears to be as healthy as it has ever been, at least using perceived quality as our preferred metric. This is why whittling down the number of shows I watched and enjoyed this year to just ten has proven more difficult than most years. Still, where there's a will, there's a way, so what follows are my Top 10 TV Shows for the year.

10. The Last of Us Season 2

I really struggled with whether or not to include Season 2 of The Last of Us on my shortlist. That's how hard the show has fallen out of my good graces following its adaptation of what was already itself a very divisive second game. The decision to kill off a certain major character aside, there were just too many questionable, ideologically-charged inclusions in its story, which threatened to derail the entire thing. But ultimately, the show succeeds in more ways than it falls flat on its face, even though I can finally better understand the vitriol it inspired in certain pockets of the game's fandom.

9. Squid Game Season 3

Following an abrupt end to Season 2 of Squid Game, Netflix released what was effectively the second half of that particular story arc this year. And taken as a whole, Season 2 and 3 certainly had their fair share of things to say about classism and the dangers of free-market capitalism. But chances are you cared more about the games themselves, of which there were new ones as well as returning favorites. And while I would never forgive Player 456 and Detective Hwang for nearly grinding the story to a halt with their stupidity, I still enjoyed the final season, all things considered.

8. Severance Season 2

I was a bit late to the game with Severance when it originally swooped onto the scene in 2022. But I made sure I was caught up with its high-concept premise, as well as the various innies working the brightly lit offices of Lumon Industries, in time for its second season, which was doled out over the course of several weeks on Apple TV earlier this year. And while I personally didn't think it hit the same heights as that critically-acclaimed first season, the new season peels back just enough layers of its central conceit and mysteries that I can see myself sticking with it for another season or two.

7. It: Welcome to Derry

2025 was a solid year for Stephen King adaptations, from movies like The Life of Chuck, The Long Walk, and The Running Man, to It: Welcome to Derry on HBO Max. Bill Skarsgård reprises his role as Pennywise the Dancing Clown, the chosen avatar of the eponymous It, long before he goes toe to toe with the members of the Losers Club. The show delves deeper into the lore from the books, with creative connections to other Stephen King works like The Shining, and it is anchored by an all-round solid cast. Just don't get too attached to any of them, if you know what I mean.

6. Peacemaker Season 2

The DCU was already off to a great start with both Creature Commandos and Superman. So, going into Peacemaker, I was more concerned with how it would reconcile the show and its titular character's origins within the DCEU with how he was now being positioned as part of the new universe. But rather than tackle that issue head-on, Season 2 merely opens with a recap of events that mirrored the ones from the first, suggesting we were dealing with a parallel universe, a concept that would serve as a throughline for the events of the entire season and, by the looks of it, the future of the DCU as a whole.

5. Adolescence

Netflix is hardly regarded as a de facto home for prestige television, with a good chunk of its library falling well under the umbrella of slop, or even worse, second-screen viewing. This is why whenever a show like Adolescence comes around, everyone pays attention. The four-part miniseries explores the effects of online spaces like the manosphere on young, impressionable minds. But it is in its single-take construction that the show really impresses, with each episode being filmed as one continuous tracking shot. This is next-level filmmaking, bolstered by equally strong performances from its acting ensemble. 

4. Invincible Season 3

Mark Grayson continues his ascension to full-fledged hero in Season 3 of Invincible, a show that has always been packed with some of the most awesome superhero showdowns. This year, it was the fight with the Viltrumite commander, Conquest, that had fans salivating, a confrontation so epic that it made his beatdown by Omni-Man in Season 1 look like warmup. The new season had other highlights too, but frankly, I was just glad to see Mark finally move on from Amber, whom I've always found insufferable, and embrace his future with Atom Eve, whom I adore.

3. Pluribus

When Pluribus arrived on Apple TV with a perfect 100 percent on Rotten Tomatoes, I was cautiously optimistic. After all, it was the same crop of critics who gave Season 2 of Foundation a similar score. But with acclaimed Breaking Bad and Better Call Saul showrunner Vince Gilligan at the helm, and a high-concept science-fiction premise that is part alien invasion, part viral outbreak, I knew I was bound to have a jolly good time. Except nothing could have prepared me for just how rib-crackingly funny the show is, with a variation of dry humor that borders on the very edge of absurdist.

2. Andor Season 2

Star Wars fans were in dire need of a palate cleansing after a string of mediocre Disney+ shows set in a galaxy far, far away (I'm looking at you, Ahsoka and The Acolyte). And like a cool breeze on a hot summer day, Andor was back to show the hacks at Lucasfilm what was possible when you pair the right showrunners with the right projects. Season 2 further bridges the gap between Revenge of the Sith and Rogue One, covering events spanning a four-year period with some of the best writing and directing seen on this side of the Volume.

1. Stranger Things Season 5

I know we are technically only halfway through the final season of Stranger Things, but if the first four episodes are anything to go by, then what a season it is shaping up to be. Will the Wise is dead. Long live Will the Sorcerer. The buildup and execution of that big reveal is a payoff nearly a decade in the making, taking an often-neglected secondary character and making him one of the most powerful players on the board.

Sure, the kids might look way too old for their roles now. And say what you will about Netflix and its gradual shift away from its traditional binge model. But, damn it, if it all isn't just some next-level genius planning, as they've suddenly given fans of the show something to look forward to over the holidays. Now Christmas and New Year's Eve can't come soon enough.

2025 in Review: Top 10 Best Games

Would you look at that? I mean, it's hard to believe that we have already come to the end of yet another year, when it feels like just yesterday we were ushering in a new one. Don't get me wrong, I am beyond grateful to be here, still scribbling down my thoughts and ideas on this very blog. But Jeez Louise, where did all that time go?

And it is in pursuit of that very answer that I must now spend the next few days reflecting on the past year, or more specifically, the games, TV shows, songs, movies, etc. that kept me occupied. So sit down with your beverage of choice, dear reader, and strap in as we begin this week-long journey with a ranking of my Top 10 Best Games.

10. Ruffy and the Riverside

It's only fitting that we kick things off with Ruffy and the Riverside since it was the very first game I managed to roll credits on this year. Developed by Zockrates Laboratories, the game is a love letter to the 3D platformers and collectathons of the N64 and PS1 era. But it was ultimately its blend of hand-drawn 2D characters set against low-poly 3D environments that drew me in, and its unique copy-and-paste swap mechanic that kept me going until the end.

9. Little Nightmares 3

I can already hear the groans from those questioning how Little Nightmares 3 could possibly make it onto any Top 10 list. After all, those "mixed" reviews on Steam should tell you all you need to know about the overall sentiment about the game. But this is my list, damn it, and one of my most anticipated games of the year. So despite the game itself being more of the same, it still delivered enough of what I was hoping for to secure its placement here.

8. Shinobi: Art of Vengeance

One game whose inclusion shouldn't cause any groaning is Shinobi: Art of Vengeance. Because from the moment we first caught glimpses of what Sega was cooking at The Game Awards in 2023, you could tell we were in for a treat. The game boasts some of the most stunning hand-drawn art to grace PCs and consoles this year, which shouldn't come as a surprise considering it was developed by Lizardcube, one-third of the team that worked on Streets of Rage 4.

7. Blue Prince

As I continue to warm up to more games with roguelike elements, I still find myself struggling with their heavy reliance on RNG. Given the choice, I would rather have carefully constructed levels than ones pulled from a pool at random. But despite all that, I still knew I had to experience Blue Prince, a first-person puzzle adventure game reminiscent of 2013's Gone Home. And what an experience it has been, even as I am still trying to unravel every last mystery of the Mt. Holly Estate.

6. Pokémon Legends: Z-A

After finally evolving the gameplay in its Pokémon series through its first Legends spinoff, Game Freak has shown that it still has more goodies stashed away in its bag of tricks. And the biggest change in Pokémon Legends: Z-A comes in the form of real-time battles, with players only needing to wait for cooldowns to issue commands to their Pokémon. Sure, the graphics might still be a bit of a mixed bag, but the overall charm of the series remains fully intact.

5. Marvel Cosmic Invasion

Beat 'em up fans have been eating good lately, between Marvel Cosmic Invasion and another game further down this list. The first of those two games was developed by Tribute Games, the same studio behind Teenage Mutant Ninja Turtles: Shredder's Revenge, and their new game makes good use of its Marvel license with a roster that includes fan favorites like Captain America and deeper cuts like Phylla-Vell. But it is its smooth gameplay that would no doubt have you coming back for more. It also helps that the whole thing is brought to life with some beautiful stages and sprite work.

4. Hades 2

I purposely waited for Hades 2 to come out of early access before diving in, because I knew I wanted the full, fat version 1.0 experience, with most of the bugs and other kinks ironed out. And sure enough, the game has proven to be well worth the wait. Unlike the first game, you play as Melinoë, whose ultimate goal is to defeat the time titan, Chronos. But much like that game, you can expect the same buttery smooth gameplay and great sense of progression.

3. Absolum

Developed by Guard Crush Games, another third of the team that worked on Streets of Rage 4, Absolum is the new gold standard for modern beat 'em ups. From its gameplay to its presentation, music, and sound design, the whole thing comes together in a way you seldom see from the tried and tested genre. And remember how I said I wasn't the biggest fan of the overreliance on RNG in roguelikes? Well, it turns out the solution to that particular pet peeve was to throw some sweet beat 'em up gameplay into the mix, making each run feel less like a slog.

2. Hollow Knight: Silksong

For a hot minute there, it seemed like Hollow Knight: Silksong was nothing more than a running gag, considering how the game completely dominated all discourse during the various game showcases, even ones in which it didn't make an appearance. And now that it is finally here, sitting in our various game libraries, I have to say that it was certainly worthy of all that hype. Yes, I'm still licking my wounds from its punishing difficulty, but that only makes my triumphs all the more rewarding. If this were any other year, the game would be sitting at the very top of this list, which brings us to...

1. Dispatch

 

In a year already brimming with superhero shows with great storytelling, it is somewhat ironic that the best of the bunch was not even an actual TV show. That is the power of Dispatch, an eight-episode adventure game by Adhoc Studios, a team formed by former Telltale Games devs. And if there is one thing their new game did for me this year, it was to remind me how much I loved those Telltale adventure games, and how they would completely dominate my year-end lists.

But the true brilliance of Dispatch is not in how it tries to replicate the thrills of those games, but rather, how it streamlines them. The game plays more like an interactive movie than a proper adventure game, so what it loses in explorable environments it makes up for in story and pacing. Simply put, this is all killer, no filler. So whether you are an Invisigal stan or a Blonde Blazer glazer, chances are you'll be craving more time with the Z-Team by the time the credits roll.

Avatar: Fire and Ash (Movie Review)

After multiple delays and a protracted period spent in development hell, the next film on James Cameron's conveyor belt line of Avatar sequels, Avatar: Fire and Ash, is finally here. And while the two previous entries had enjoyed unprecedented levels of success at the worldwide box office, one has to wonder if it is only a matter of time before the series starts to run out of steam. So does the new Avatar film come with its own bag of new tricks, or is it merely more of the same?

The film is set immediately following the events of the last one, in the aftermath of the battle between the Metkayina Clan and the RDA. The Sully family is still mourning the loss of Neteyam while still trying their best to earn their keep. But when a new threat emerges in the form of raiders from the Mangkwan Clan, a group of Na'vi who have shunned the goddess Eywa, and their bloodthirsty leader, Varang, the Sullys must once again fight for their lives and the future of all of Pandora.

There's been all this talk about the Avatar films over the years, and how they've failed to leave any real kind of cultural footprint despite being some of the highest-grossing movies of all time. And while there is indeed some merit to that claim, there is no denying the mass market appeal of the first two films in the series, serving as the kind of tentpoles that demand to be seen in a cinema. A lot of that has to do with the technology behind the films, as they utilize cutting-edge CGI and 3D effects to immerse viewers in its alien world like never before.

But once you've seen and experienced that world twice before, it starts to lose a bit of that novelty. And therein lies the main hurdle ahead of Avatar: Fire and Ash and the remaining forthcoming sequels, that unshakable feeling of been there, done that. This is why it is important for each movie in the series to introduce something that could potentially help shake things up before things become too stale. In the last film, it was the Metkayina (or Water Na'vi), and this time around, it is the Mangkwan (or Ash People as they are called).

Except the movie still follows a lot of the very same story beats used in the first two, that it soon starts to feel more like a greatest hits compilation than a meaningful progression for the series. In fact, there were a few shots that felt like they were ripped straight out of the first two films, so much so that I imagine it would be fun to line them all up and play a game of spot the difference. To be clear, I am not saying the movie is derivative, only that it is pulling from the same old bag of tricks.

It also bears stating that the movie is very long at 3 hours and 17 minutes. And somewhere around the two-hour mark, I started to feel that length, which was a problem I never had with the previous films. It doesn't help that it takes a while for things to get going, and that we spend a good deal of time watching characters make questionable decisions, as though they were beholden to the demands of the plot and not their own freewill and autonomy. 

This is also the most fantastical that the series has ever been, so hard sci-fi purists might find themselves scratching their heads a few times during the movie. I mean, there was even a frigging sky beam that shows up at some point to further mess with the gravity, which definitely looked incredible and was used to cool effect, but it made about as much sense as it sounds. But this is Avatar we are talking about here, the series about tall, blue, alien cat people; being implausible is practically baked into the premise.

And despite all these perceived shortcomings, I'd be lying if I said I didn't ultimately have a blast with Avatar: Fire and Ash. This is because the film knows what it is good at, which is delivering gorgeous visuals that push the boundaries of what is possible with CGI. There were even one or two shots in the film that were so striking that they almost crossed into the realm of surrealism. I also enjoyed the further expansions into the lore of Pandora that we got, and found that the movie worked best when it slowed down to allow for that information to be doled out.

Then, of course, there is the action in the movie, which is another clear highlight and the reason why a lot of people will be seeing it in the first place. I was on the edge of my seat through most of it, even if that action did lack a lot of the emotional resonance from the first two films. I didn't see the film in 3D or IMAX, unfortunately, nor do I plan to, so I can't speak to the quality of either effect on the movie. But I imagine they were every bit as transformative as they were in the last film, and that they help make all the already great action scenes that much more amazing.

Avatar: Fire and Ash is a bloated, overlong follow-up that is every bit as spectacular as its predecessors. But if the series is to survive going forward, it will need to do more to shake up its formula. What that shake-up might look like is anyone's guess, and it is possible that James Cameron already has just what the series needs waiting in the pipeline. All I know is that not many films offer the kind of movie magic we see in these Avatar movies, and this new one is a solid reminder of that.

Predator: Badlands (Movie Review)

After revitalizing the Predator franchise with Prey and Predator: Killer of Killers, Dan Trachtenberg is back again in the director's seat for its next installment. And as you can imagine, expectations are quite high for Predator: Badlands, especially since it would also mark a return to theaters for the series, after the last two aforementioned movies had gone direct to streaming. So is the latest Predator film actually worth a trip to your nearest cinema, or are you better off waiting for it to drop on Hulu?

The film centers upon Dex, a fledgling Yautja warrior struggling to prove his worth to his clan, or more specifically, his father, their leader. And yep, you heard that right, the film actually has a Predator as its main protagonist, a species that has been relegated to the role of villain or reluctant ally ever since its 1987 introduction. In order to earn his place in the clan, Dex must journey to Genna, a planet so harsh that even the strongest of Yautja warriors have failed to conquer it. And even though he plans to hunt down its apex predator, he must first work his way up from the very bottom of the food chain.

When Predator: Badlands was first revealed through its teaser trailer, the first thing that stood out to many people was its titular Predator, or more specifically, how he looked. There was just something distinctly uncanny about him, with special effects that frankly seemed undercooked. After all, this is a series that has historically relied more on makeup and practical effects to bring the Yautja to life, so to see this one lean so heavily on CG was indeed an immediate cause for concern. 

Well, I am pleased to report that the CGI in the final film is vastly improved from that first showing, even though part of me still misses the fully prosthetic mask and suit of the original film. But I understand the decision to go digital, given the vast array of emotions the Predator needed to be able to express as the film's lead. And after a while, I did get used to how he looked, so I imagine most others would as well. 

The area where the effects in the film get to shine, though, both literally and metaphorically, is in how they've been used to portray the Predator's arsenal of gadgets and weapons. From his grappling hooks to his laser sword and bow, the whole thing maintains a design language that doesn't stray too far from the earlier films while staying consistent with the more recent entries. We've definitely come a long way since the janky invisibility effects of the original film, that's for sure.

And as you would imagine, all those gadgets and weapons are put to good use during the film's action setpieces, of which there were plenty. Each one was appropriately grand and spectacular, and it is here that the film makes its biggest case for why it deserves to be seen sprawled across the big screen. There were many oohs and aahs from the audience I saw the film with, and it was quickly clear to me that we were all getting our money's worth from the spectacle alone. But I suppose all that shouldn't really come as a surprise for an action movie of this size and budget. 

One aspect of the film that did catch me off guard was the humor in it. I certainly didn't expect to laugh as much as I did during the movie. It helps that the humor didn’t feel particularly forced or shoehorned in at inappropriate moments. And sure, the first two movies had the occasional quip and one-liner, but by and large, they were serious affairs with straight-up horror elements. This one ditches all of that in favor of something closer to Godzilla vs Kong, but you won't catch me complaining.

The only minor gripe I have with Predator: Badlands is how it barely expands upon the overall Predator lore. I mean, this was supposed to be the clearest picture we've gotten to date of Yautja culture, outside of that final sequence in Predator: Killer of Killers. And it is no secret that the film has connections to the Alien universe, with Weyland-Yutani synthetics and whatnot. 

But a part of me wishes they'd gone deeper with that connection. After all, there was all that talk from the director of Alien: Romulus himself, Fede Alvarez, regarding another potential crossover between both properties. But what we got here was pretty surface-level stuff, so perhaps that is something we'll simply have to wait for future installments to see come to fruition.

Predator: Badlands is another slam dunk for Dan Trachtenberg and his take on the Yautja. The film is easily the most crowd-pleasing the series has ever been, and depending on who you ask, that could either be considered a good thing or a bad thing. But if you ask me, I am perfectly okay with watching the franchise continue to evolve the way it has under his stewardship, provided, of course, that he still retains some space for future entries that skew closer to the horror side than the campier, action-adventure thrills on this one.

Top 10 Horror Movies of 2025

Today is Halloween, which marks the culmination of what is popularly referred to as spooky season. And as is no doubt customary in many households, it is a time for horror fans to indulge in some of their favorite season-appropriate offerings from Hollywood studios big and small. Thankfully, 2025 has provided quite the stellar lineup to choose from, so in light of the ongoing festivities, I have decided to share my Top 10 Horror Movies for the year.

It bears stating that the year is not quite done with horror releases, even though most studios typically capitalize on the buildup to Halloween. Also, of all the horror movies that have been released thus far, I've only managed to see a handful, or at least more than enough to fill up a listicle, so do with that information what you will. All that said, here is my totally subjective ranking of the very best the genre of horror has had on offer in 2025.

10. The Conjuring: Last Rites

Billed as the final film in the mainline Conjuring series, The Conjuring: Last Rites once again finds paranormal investigators Ed and Lorraine Warren going toe-to-toe with supernatural forces. I wasn't too keen on their previous outing and was pleased to find that this latest entry was a return to the campier thrills of the first two films, even though it never quite manages to recapture the magic of those older movies.

9. The Gorge

Speaking of campy thrills, The Gorge certainly had its fair share of those. What started as a run-of-the-mill action thriller with a strong tinge of romance (it was released on Valentine's Day after all) eventually devolves into a full-blown science fiction horror film. It definitely felt like a throwback to the schlocky sci-fi movies of the 90s, or a video game brought to life, which, if you ask me, was precisely what it needed to be, given its premise.

8. Companion

In this day and age of AI chatbots, a film like Companion doesn't seem as out there as it once did. And it is that contemporary quality that serves as the movie's biggest draw, the fact that we are already living with the kind of technology that would make its central conceit somewhat plausible. But it is in the execution of its familiar premise that it manages to set itself apart from its forebears with some genuinley thrilling twists and turns.

7. Final Destination Bloodlines

After an extended hiatus, the Final Destination franchise was brought back to roaring life this year with its sixth entry, Final Destination Bloodlines. And while I wouldn't consider myself the biggest fan of the series, I still remember being captivated by the outlandish kills seen in the earlier films. And the new film clearly understood the assignment, subverting expectations as it finds even more inventive ways to thin out the film's roster.

6. Bring Her Back

The YouTubers that gave us Talk to Me were out to prove they weren't one hit wonders, which is what they've been able to accomplish with their sophomore effort, Bring Her Back. But rather than follow-up their last movie with more of the same, their new film falls more in line with the psychological horrors of an Hereditary than the supernatural horrors of the former. The result is a disturbing examination of grief and the pain of letting go.

5. Good Boy

Speaking of grief and letting go, no other horror film has been able to get me to tear up the way I did at the end of Good Boy. The movie tugs at the heartstrings in a way that is most unusual for a genre often more concerned with jump scares than anything else. And sure, we've had countless haunted house movies at this point but not many can boast of the novelty of being set entirely from the perspective of a dog.

4. Together

Body horror is one specific subgenre of horror that seems to be getting a lot of love lately. Last year, we got The Substance, and now we can add Together to that list of shining examples. The film flips the very concept of the former on its head, as it explores the physical and psychological ramifications of a couple whose strained relationship is put to the test when their bodies start to merge.

3. 28 Years Later

To say that I was hyped going into 28 Years Later would be an understatement. I was beyond pumped due largely to the incredible first look at the film that came in the form of its teaser trailer. It perfectly conveyed the sense of scale and dread the film was aiming for, and even though the final product fell just shy of doing that trailer justice, it still proved once again that Danny Boyle is a top-tier filmmaker with a flair for the dramatic and striking visuals.

2. Weapons

Is it just me, or was Julia Garner everywhere you looked in 2025? From her appearance in the somewhat lackluster Wolf Man to the more crowd-pleasing The Fantastic Four: First Steps, she definitely wasn't lacking for film roles. But perhaps she'll be best remembered for her turn as a troubled school teacher in the horror mystery box, Weapons, a film that boasts one of the wildest and most satisfying climaxes I've seen in a movie all year.

1. Sinners

After I was ultimately disappointed by his work on Black Panther: Wakanda Forever, I confess that my interest in Ryan Coogler's next project, Sinners, was minimal to nonexistent. But following a flood of positive word of mouth in the lead up to the movie's release, I was compelled to give it a shot and was not disappointed by what I saw. Spoiler alert for my year-end favorites list, but Sinners is not only the best horror film released in 2025, but quite possibly the best film overall.

Hollow Knight: Silksong is forcing me to reconsider my stance on difficult games

So I recently started playing Hollow Knight: Silksong. This is despite my deep-rooted aversion to difficult games of all types. For context, I never played Dark Souls, and I typically avoid the many so-called Soulslikes that seem to spring up like mushrooms every year.

The reality is that not everyone has the time, patience, or willpower needed to "git gud" as they say. And when you are someone like me who tends to ragequit during the tougher boss encounters in seemingly benign titles like Paper Mario: The Origami King, perhaps it is best to leave the punishment to those who actually welcome that sort of challenge.

But for some reason, I still found myself drawn to Silksong despite cautionary tales of how much harder than the first Hollow Knight it was. That increased difficulty shouldn't come as a surprise, though, considering the game was originally conceived as DLC meant for those craving more from what was already itself a very difficult game.

Except this is Hollow Knight: Silksong we are talking about here, one of the most anticipated and requested games in recent memory. There is no universe in which I wasn't at least going to try and see for myself what all that noise was about. So after much deliberation and second-guessing, I caved and gave in to FOMO.

And right off the jump, the game hits you with its uncompromising difficulty, so much so that I came this close to quitting and uninstalling it within my first hour of play time. But just when I thought I'd been slapped around more times than my fragile dignity would allow, the whole thing began to click.

Just like Neo at the end of The Matrix, I could finally see the tells and patterns of the enemy's attacks, and how I could best avoid them before dishing out attacks of my own. And therein lies the hook of the gameplay in Hollow Knight: Silksong, that perpetual dance between player and enemy that rewards both patience and razor-sharp reflexes.

Speaking of enemies, there is no shortage of crazed bugs trying to bring our hero's journey to an end. But it is the various bosses that populate the kingdom of Pharloom that act as the true standouts. I've only faced a handful of them thus far, but each one I've managed to beat has proven to be as satisfactory as they were frustrating.

Another element of the game's difficulty worth mentioning is the platforming. This is a Metroidvania after all, so much of the gameplay involves moving between the various hallways and biomes scattered across Pharloom. Some of those areas can be borderline sadistic to traverse, compounded by the fact that dying to a boss or enemy along the way means you get sent back to a save point, which are few and far between.

I suppose such gripes come with the territory for anyone used to playing games of this ilk, but it is still worth mentioning. It would have been nice if the game could autosave before major boss encounters and platforming gauntlets, or if there was a more generous placement of benches, but this is not that type of game, apparently.

It is a good thing the world of Pharloom looks as good as it does, though, making those repeat treks through its hazards scenic ones. The whole thing is brought to life with some truly stunning hand-drawn art, paired with atmospheric fog, lighting, and other environmental effects reminiscent of the ones employed in Playdead's Limbo and Inside.

The same attention to detail extends to the music and sound design. I especially love the gibberish language spoken in Pharloom, as it lends the many characters you meet along your journey an undeniable charm. It is all these things that ultimately make Hollow Knight: Silksong worth sticking with, if only to discover more of its beautiful world and the pilgrims populating it.

It is not often that a game forces me to question my preconceived notions about entire genres. In retrospect, perhaps I was simply too harsh on games like Elden Ring and Sifu for their baked-in difficulties. And while I don't know if I'll eventually succeed in helping Hornet scale up to the heights of the Citadel, I'll keep trying and hold off on hitting that uninstall button, assuming, of course, that frustration doesn't finally get the best of me.

KPop Demon Hunters was the Biggest Surprise this Summer

Now that the summer movie season has come to an end, and I've already ticked off watching most of the movies on my most anticipated movies of 2025 list, I figured it was as good a time as any to discuss what I and many others consider to be one of the biggest surprises of the year as a whole. This is not to be confused with my annual end of the year wrap up (which is still coming!), but rather, is my attempt to gather some of my thoughts and feelings well ahead of that post.

Before I get to the heart of the matter, though, I first need to acknowledge the fact that despite my half-hearted attempts, I haven't seen nearly as many movies as I would have liked this year. A few I missed off the top of my head are the live-action remakes of Lilo & Stitch and How to Train Your Dragon, and the hit horror movie, Weapons. The current plan is to find the time to watch all these in the weeks and months ahead, so fingers crossed that it happens sometime before the end of the calendar year.

That said, I have to admit that of all the movies I did happen to see, few of them have really managed to surprise me. This does not mean that it's been a downer year for moviegoing or streaming. Because, like most years, we've gotten various highs and lows, and for the most part, these fell pretty much where I'd expected on my barometer of satisfaction. In other words, there've been none that truly exceeded my expectations, or that fell egregiously short of meeting them. That is, of course, until I finally saw the Netflix animated film, KPop Demon Hunters.

It bears mentioning at this point that this is also not a review of KPop Demon Hunters, but rather, a postmortem of sorts, as I try to make sense of my feelings about the movie. So in lieu of the typical synopsis or plot summary, I will simply be jumping straight into what I thought about the film. I could also be touching upon some key plot details so consider this a spoiler warning.

There's no use in burying the lede any longer because I thoroughly enjoyed KPop Demon Hunters, more so than I dare to admit or could've possibly anticipated. This was despite all the buzz and hype that preceded me finally giving the film a chance, after being bombarded by news of its every milestone for what felt like years. But strangely enough, it was actually the music that made up the movie's soundtrack that gave me the final nudge that I needed.

I've never really been a fan of K-pop, to be honest, even though I enjoy the occasional dose of Blackpink and Psy. But after hearing the song "Golden" for the first time a few weeks back, I knew it had the potential to grow on me with its catchy lyrics and earworm melodies. And grow on me it did, so much so that my YouTube recommendations were soon taken over by other songs from the movie. 

So, just like that, I found myself binging song after song, until I could no longer fight the temptation to experience the whole thing as intended. It was finally time to log into Netflix and bite the bullet.

Heading into the movie, I already knew it had some very catchy, radio-friendly music. I could also see, from the videos I'd already watched, that the animation was top-notch, sporting what has quickly become Sony Pictures Animation's signature style ever since its introduction in Spider-Man: Into the Spider-Verse. But I still wasn't prepared for just how well these elements came together to elevate the viewing experience.

There were hidden depths to the movie's deceptively simple premise (think Buffy the Vampire Slayer meets K-pop), and the way it approached its depiction of Korean pop culture was equal parts parody and celebration, ensuring that noobs like me could still laugh at and, at the same time, appreciate the exaggerated excesses of the K-pop fandom. I was likewise won over by its use of anime flourishes, and while I couldn't be caught dead watching K-dramas, I could still recognize how it channels the over-the-top melodrama that makes them so endearing to many fans.

The filmmakers, songwriters, and animators alike definitely deserve all the credit for their attention to detail. It would have been too easy to mess things up in other, less competent hands, but their movie stays true to form from start to finish. As a result, they have successfully blended all the disparate elements of a musical, romance, and urban fantasy action movie to create something far greater than the sum of its parts.

All this high praise from me does not mean I think the movie is perfect, though, not by any stretch of the imagination. Its relatively brisk pacing, while great for kids with shortened attention spans, left this aging millennial wishing there was more depth to its story and worldbuilding. Mind you, I am not asking for Tolkien levels of backstory, just more character development for the other members of Huntr/x for starters.

I would have also liked to learn more about the previous generations of demon hunters, especially the Sunlight Sisters. What happened to their third, unnamed member, and how did Rumi's mother, Mi-Yeong Ryu, bite the dust? Likewise, I found myself wondering what the movie's overall K-pop landscape looked like. I imagine there are numerous musical acts active in its fictionalized version of Seoul, so why were there just two represented at the Idol Awards?

But the absence of these little tidbits of information is still not enough to dim what is clearly a diamond in the endless muck that is the Netflix catalog of streaming original movies. And with the movie's continued success, chances are high that at least some of my nitpicks might get addressed in the inevitable sequel.

So, to wrap things up, let me implore you to give KPop Demon Hunters a shot, assuming you haven't already. The last time I resonated this much with something so outside my wheelhouse was when I first saw The Powerpuff Girls on Cartoon Network, all the way back in 1998. And in some ways, there are more than a few parallels between that show and KPop Demon Hunters, from its colorful trio of superpowered heroines to the focus on balls-to-the-wall action and catchy tunes.

And that, right there, is the winning formula that might help explain how and why KPop Demon Hunters has grown beyond its primary audience of teenage girls. Because I genuinely believe that it has something for everyone, assuming, of course, that they can look beyond its bright pink, glitter and confetti-covered exterior.

The Fantastic Four: First Steps (Movie Review)

Phase Six of the Marvel Cinematic Universe is officially underway, except you'd be forgiven for not even realizing that transition, given how all over the place the prior two phases of its so-called Multiverse Saga have been. But with the promise of two new Avengers movies on the horizon, the time is nigh, nigh I say, for all that chaos to finally coalesce into something meaningful. So does The Fantastic Four: First Steps signal that nexus point, or is the Multiverse Saga well past salvaging?

Set in a parallel universe, the film centers upon the titular Fantastic Four, the primary protectors of Earth-828, whose members include The Thing (Ebon Moss-Bachrach), Human Torch (Joseph Quinn), Invisible Woman (Vanessa Kirby), and Mr. Fantastic himself (Pedro Pascal). It's been four years since they were first exposed to the cosmic radiation that imbued them with their abilities, and they have since grown to attain celebrity status for their heroic deeds. But when the Silver Surfer (Julia Garner) arrives on their Earth with news of its impending doom at the hands of Galactus (Ralph Ineson), the First Family will have to find a way to save all of humanity or watch everything and everyone they love get devoured.

As the MCU steamrolls its way towards the next big Avengers team-up, it is clear that the days of an intricately-plotted overarching narrative spanning several movies are well behind us. Nowhere is that more evident than in its latest entry, because of all the movies we've gotten in the franchise recently, The Fantastic Four: First Steps feels like the most self-contained. This itself is not an inherently bad thing, as it allows newcomers to jump in without the fear of needing to do some catching up first, while the rest of us can look forward to how it eventually ties into what came before. 

But when we are this late in the cinematic universe-building game, it feels somewhat odd to be introducing new characters and teams rather than fleshing out existing ones, especially considering all the dangling plot threads that are yet to be addressed. In any case, the First Family aren't exactly newcomers to the comic book movie scene. So after four prior attempts to adapt the Fantastic Four into live-action, I am pleased to say that this latest one is easily the best one yet. I know the bar for quality within the series isn't particularly high, but bear with me here.

The first thing that sets this adaptation apart from the others is its retro-futuristic aesthetic. Matt Shakman proves once again that he can handle period-specific settings like the one he brought to life in WandaVision. I loved the 1960s-inspired look of his film, with the various sets and costumes going a long way to sell that vision. This extends to the visual effects seen throughout the movie, as it makes use of a wide array of practical effects, which further help ground its action scenes in reality. I'd be remiss if I didn't also mention the rousing score by Michael Giacchino. The music in the film slowly grew on me as the movie progressed, twisting and morphing to fit the tone and mood of the onscreen action when needed.

But what I loved about the movie the most was the Fantastic Four themselves. There was definitely a lot of great chemistry between the cast members. I really enjoyed the playful banter between Johnny and Ben, and even though I had some reservations about Pedro Pascal as Reed Richards, especially since we just had John Krasinski in the role, he ultimately won me over with his performance. Each member of the team also gets to showcase their abilities in the movie's various action setpieces, especially Sue, who one might argue was the actual lead. And depending on who you ask, that could either be considered a pro or a con.

Speaking of cons, the biggest one I had walking out of the movie has to do with its connection to the wider MCU. Because aside from a post-credits scene that promises the return of the Fantastic Four in Avengers: Doomsday, the movie doesn't offer much in the way of connective tissue to that film, or its follow-up, Avengers: Secret Wars. Even worse, it doesn't shed light on the end-credits scene from Thunderbolts either, despite both stingers being directed by the directors of those forthcoming Avengers films, the Russo Brothers. 

This tells me that the script for the film was finalized well before the pivot away from Kang's Dynasty, and that these recent post-credits scenes were basically tacked on to their respective movies after the fact, without any real consideration for anything that came before them, and the most tenuous of connections with what is to come next. This is a shame and particularly frustrating for anyone who has been following along with the hope that the scattered events of the last two phases would receive any kind of payoff.

As such, we are still none the wiser about Robert Downey Jr.'s Doctor Doom, nor do we know how he is going to fit into the overall narrative. Yes, I realize these questions would most likely get answered during Avengers: Doomsday, but it still feels rather odd to have little in the way of a proper primer, heading into that film. By this same point in Phase Three, we'd already been introduced to Thanos and given a taste of the threat he posed. But right now, there is barely enough to get us excited for Doomsday and Secret Wars, the way we were all excited heading into Avengers: Infinity War, beyond the prospect of seeing RDJ back in the MCU.

The Fantastic Four: First Steps is another step in the right direction. But where it stumbles is in its inability or downright unwillingness to pave the way for Avengers: Doomsday. The little tease we got here felt superficial at best and somewhat predictable and ultimately inconsequential at worst. I guess time will tell just how much it is going to factor into the events of that film. Taken as a standalone, though, the movie offers the kind of joyous wonder the superhero genre is known for, and that the MCU definitely needs more of. 

Superman (Movie Review)

Comic book movies have come a long way since Richard Donner's Superman first wowed moviegoers in 1978. But ask any long-time superhero film fan today, and they would most likely decry the lack of that same wow factor in recent films. Still, if there's one director who has consistently delivered spectacular superhero movies, then it is surely James Gunn, with Guardians of the Galaxy and The Suicide Squad being regarded among the genre's upper echelon. So does his take on Superman breathe new life into the superhero genre, or are we truly within the cold, hard grasp of superhero fatigue?

Shortly after single-handedly stopping an invasion between two warring nations, the titular Superman (David Corenswet) is forced to deal with the consequences of his actions as the US government begins to question his ability to act with impunity. Meanwhile, his archnemesis, Lex Luthor (Nicholas Hoult), devises a plan to further hurt his reputation, which involves infiltrating his base at the Fortress of Solitude in a bid to gather some dirt. And with his hands already full trying to keep the city of Metropolis safe, Superman would need all the help he can get before he gets grounded for good. 

From the moment it was announced that the DC Extended Universe had come to an unceremonious end, many had wondered what the new vision for its specific pantheon of comic book heroes and villains would look like. After all, we were just coming off several years' worth of movies that made up the DCEU, including the three that comprise what is colloquially known as the Snyderverse. And as a self-proclaimed Zack Snyder fan myself, it was a bit sad to see that director's plans for the DCEU peter out the way they did. I guess his more somber take on the superhero mythos didn't resonate with enough people to make its continued pursuit commercially viable.

So enter James Gunn, with his quirky sensibilities and affinity for needle drops, and the first thing that immediately leaps off the screen in the first film of his newly-minted DC Universe, Superman, are the vibrant colors. Gone are the dull, muted tones of the Snyderverse, replaced instead with a full rainbow's worth of reds, greens, and blues. That vibrancy extends beyond just the color palette, as it also permeates the feel of the movie. There is no other way to say this, but the humor in it is quite goofy, so those looking for something more serious might find the jokes a bit grating.

Thankfully, I was onboard for all of it, especially the meta humor, of which there was plenty, and I had a smile on my face for most of the movie's 130-minute runtime. None of this should come as a surprise to anyone who enjoyed James Gunn's work on the Guardians of the Galaxy films, though, as he once again proves that he can deftly balance between the gags and the heavier subject matters his stories demand. And while the movie does have some political undercurrents like some have feared, it never truly approaches the realm of full-on political commentary and I didn't find it particularly preachy or one-sided. 

As for the new Superman himself, David Corenswet, he definitely gave a performance that channels the charm and overall campiness of those Christopher Reeve Superman films, although I can definitely see how some might take issue with his perceived ineptitude in the film. The other actors also successfully imbue their characters with that same energy, but the true standouts were Edi Gathegi as Mister Terrific and Nicholas Hoult as Lex Luthor; the former's dry humor often had me in stitches while Lex was just gloriously over-the-top. 

The area where Superman truly excels, though, is in its action sequences. Each setpiece in the movie was appropriately grand and wildly kinetic, showcasing the full gamut of superpowers at our heroes' disposal. Not since Zack Snyder's own work on films like 300 and Watchmen have the panels of a comic book been so faithfully brought to life on the big screen, calling to mind the sense of scale and excesses of the Silver Age era of comic books it is clearly drawing inspiration from. I say all that to implore you to watch this film in a theater with a screen big enough to soak it all in.

In terms of how well the movie sets up the new DC Universe, I'd say it does an admirable job. I appreciated the decision to start the story right dab in the middle with a world already populated by metahumans and Superman himself already three years into his tenure as Protector of Metropolis. This negates the need to spend time setting up the universe, and we instead get to learn about the characters as we go. And while some of those characters didn't get nearly enough screen time or character development, I still look forward to seeing them wherever they pop up next. This is doubly so for Krypto, who was the real MVP in my opinion.

Superman is precisely what every comic book movie should aspire to be. It delivers all the thrills and spectacle the genre is known for, but never at the expense of a story filled with hope and smile-inducing moments of tenderness. With this, James Gunn has shown that DC Studios is in more than capable hands and that the DCU is certainly off to a rock-solid start. So my hope going forward is that his movie finds all the success it deserves, to the disappointment of those who would want to see it do otherwise, and that he continues to steer the ship in a worthwhile direction.

28 Years Later (Movie Review)

If there ever was a case for why it was important to craft strong, compelling movie trailers, then surely it was made by the one for 28 Years Later. Easily one of the best trailers I've seen in years, it masterfully struck that delicate balance between showing just enough to entice prospective viewers without giving too much away. It evoked in me a sense of dread and tension that immediately had me on the edge of my seat, effectively taking a film that I was mildly interested in at best and making it one of my most anticipated of the year. But does the movie itself live up to that promise, or was it perhaps oversold by that trailer?

As the movie's title suggests, the film is set 28 years after the outbreak of the Rage virus, a zombielike infection that has since been confined to Great Britain. It follows the coming-of-age story of a young boy named Spike (Alfie Williams), who lives with his father (Aaron Taylor-Johnson) and mother (Jodie Comer) on the secluded island of Lindisfarne. As a rite of passage, he must accompany his father to the mainland in an effort to hone his hunting skills. But as they quickly grow to discover, the infected have taken on a few new skills of their own. Now they must both struggle to survive against increasingly stacked odds.

Ask any fan of zombie films, and they would most likely cite 28 Days Later as one of the most influential movies of that specific horror subgenre. Not only did the movie introduce concepts like fast, agile zombies, but it also managed to elevate the genre and post-apocalyptic fiction in general, with a story that focused more on character development than cheap kills or jump scares. And while its sequel, 28 Weeks Later, had opted to take things in a more action-oriented direction, with effects-laden setpieces and no shortage of gory kills, many still consider it a worthwhile follow-up.

So heading into 28 Years Later, I was hoping for something that landed somewhere between those two extremes. And to an extent, that is precisely what the movie delivers. Both Alex Garland and Danny Boyle return to write and direct the film, respectively, so one would expect a certain level of gravitas to the screenplay and direction from filmmakers of their caliber, except the amount of suspension of disbelief required to make sense of certain developments within the story is off the charts. I unfortunately can't get into specifics without going into spoilers, but suffice it to say that this is the one area of the film I felt they kinda dropped the ball.

Thankfully, nearly everything else about the movie is several notches above the standard horror fare or very nearly flawless. The movie is often striking to look at, with the beautiful scenery of its lush, green countryside setting often juxtaposed against the horrors of the infected inhabiting it. Danny Boyle often makes use of surrealist imagery in the movie, creating a dreamscape of light and color that is always mesmerizing, regardless of what is being depicted. One shot in particular that had our two leads being chased by the infected as the aurora borealis blares in the night sky remains seared in my memory even now.

Speaking of the infected, they are as much the stars of this particular enterprise as our would-be heroes, and we get to see just how much they've evolved since the early days of the outbreak. We now have several variants, none of which I would spoil here, and each is as deadly as ever. Gorehounds will be pleased to learn that the film never shies away from showing all the gory details. Ever wondered what it would be like to watch a bunch of soldiers get beaten to death with the severed head of one of their comrades? Well, now you know, because that is just one example of the kind of extreme violence on display. 

Admittedly, the herky-jerky editing employed by the film to show that violence did take some getting used to. It calls to mind Danny Boyle's earlier movies like Trainspotting, so fans of that specific style of adrenaline-fueled storytelling will have plenty to love about this one. The film also employed some rather cool tricks with its cinematography, using a grid of smartphone cameras to capture certain shots in an effect akin to the one employed in The Matrix to create its bullet time sequences. The overall result is a movie that demands to be seen on the big screen, assuming you have the stomach for it.

28 Years Later is a glorious gorefest that is just as bloody as it is visually stunning. Its ending does pull a bit of a fast one on viewers, though, which many might find cheap or unsatisfying. I mean, it is one thing for a film to end with a last-minute stinger, like 28 Weeks Later did, but another thing entirely to end on a full-on cliffhanger. I guess we will just have to wait till next year for its sequel, 28 Years Later: The Bone Temple, to find out what all that is about. But for now, the film we got certainly lived up to all my expectations, and it managed to leave a big smile on this often-jaded moviegoer's face.

Predator: Killer of Killers (Movie Review)

Despite a string of entries and crossovers of varying or downright questionable quality, the Predator franchise has remained quite resilient over the years. But for many fans, it didn't really enjoy the resurgence it deserved until its brilliant 2022 entry, Prey. So when it was revealed that we would be getting two new Predator movies in 2025, the hope was that those movies wouldn't end up squandering that goodwill. But is the first of those two movies, Predator: Killer of Killers, a worthy follow-up to Prey, or is it merely a stopgap before the main event that is Predator: Badlands?

The film has Dan Trachtenberg returning to direct what is effectively an animated anthology. Set across three distinct time periods, each story introduces a new protagonist and their experiences as they come face to face with the Hunters of the Yautja (or Predators as they are more popularly known). But like any good anthology, there is an overarching narrative that ties all three stories together, all while also tying into the world and narrative as already established in the prior films of the larger Predator franchise.

The first thing that stood out about Predator: Killer of Killers is its unique animation style. Reminiscent of Arcane, it occupies that same space between CG and hand-painted, giving the characters an expressive quality and their actions a cinematic flair. The reduced framerate did lend the animation a choppy feel, though, except I quickly became accustomed to this, and it ultimately never got in the way of my enjoyment of the movie.

This is because I was immediately invested in each character and engrossed by the narrative of their story. My favorite by far is the one with two brothers with a score to settle. It delivers all the beats and spectacle one would expect from a Predator film, set against the backdrop of feudal Japan, during the age of ninjas and samurai. And as I would imagine, it should satisfy the hunger of all those fans that have been clamoring for just such a setting following the one seen in Prey. 

One of the advantages of animation over live action is how it allows the filmmakers to truly push the boundaries, and Predator: Killer of Killers definitely made good use of that fact. The action scenes were spectacularly staged, with over-the-top stunts that strictly adhere to the rule of cool and nothing else, from the copious amounts of blood and gore to the implausible setpieces themselves. Thankfully, none of it felt too gratuitous, despite what the trailers had led me to believe.  

The only truly critical thing I can point out about Predator: Killer of Killers is its relative brevity. The film is about an hour and thirty minutes long, which is pretty standard for a film of this kind and the franchise in general. But considering it explores three stories that felt like they could've been fleshed out into full movies in their own right, that time doesn't seem nearly long enough to spend with the characters and their worlds. But I guess this itself is a testament to just how great the stories were, the fact that I didn't want them to end so soon. 

Predator: Killer of Killers is all shades of awesome. The movie lives up to the high bar set by Prey, even managing to surpass it in certain regards. It is clear, now more than ever, that Dan Trachtenberg understands the appeal of these Predator movies, and his take on the IP continues to breathe new life into it. So while it remains to be seen whether or not Predator: Badlands would be able to keep the momentum going, I can at least say that I am now even more excited for that movie than I was heading into this one.