So guys, 2025 is officially coming to an end in a few days, so it’s time to review the year that’s passing. I’m going to start with what I’ve watched.
Malice (2025)
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The best thing I can say about the show is that it kept me engaged throughout its short runtime and I enjoyed watching it. The performances are solid overall, with comedian Jack Whitehall fitting well into the role of the creepy guy, and David Duchovny being an absolute delight.
Blue Jasmine
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A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks like a million dollars, but brings no money, peace, or love.
Frankenstein
I found the film excessively stylized—at times more like a music video than a gothic thriller. It feels as though the dark grandeur of Shelley’s vision was sacrificed on the altar of digital excess. Personally, I think CGI should work invisibly, supporting practical effects just enough to make them believable, not drawing attention to itself.
The Long Walk
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A group of young men voluntarily take part in a walking contest with prize money, glory, and one wish. With no real finish line, they will walk for as long as they can endure, until only one remains. The catch? Whoever stops… loses their life
28 Years Later
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28 Years Later is a divisive film. On the one hand, for a viewer who loves classic zombie horror, the experience may feel empty, dull, and lacking intensity. On the other hand, if you approach it as a commentary on the genre itself, it opens up a vast space for reflection. Personally, I see it as a bridge-work. It’s not the culmination of the genre, but rather a meta-commentary that shows the limits and dead ends of “commercial” zombie cinema, while at the same time leaving cracks open for new beginnings.
The devil wears prada
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The editor-in-chief of a major women’s magazine (in other words, the Anna Wintour of American Vogue) terrorizes a young woman working as a temporary assistant, pressuring her to conform to the anorexic silhouette and the latest styles dictated by the ruthless world of fashion. Meryl Streep elevates the story into a study of the corrosive dominance of the boss figure.
Lambs of God
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Seductive and narratively bold, it’s a series I appreciated mainly because I’ve never seen anything quite like it. It moves between gothic drama and gendered allegory in ways that are often (though not always) effective.
Squid Game: Season 3
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So, the Korean series Squid Game has come to an end with its third season. Were the two following seasons on par with the first? Definitely not, but I wouldn’t call them bad either. I’d say they were average. They couldn’t reach the intensity and impact of the first season, but they did deliver some strong and shocking moments. It’s just that, since we already got the initial shock from the first season, we kind of knew what to expect going forward. Honestly, even if those two seasons didn’t exist, the story would’ve wrapped up just fine with season one.
KPop Demon Hunters
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This time, we follow demon hunters who are also singers in a K-pop girl group called Huntrix. By performing, they create a massive shield that makes it harder for demons to enter the human world, while they try to eliminate them for good.
Cassandra
But this "something" isn't a ghost or a creepy kid that might already be dead. Instead, the family discovers a strange "smart" home, styled like it's from the 1950s but equipped with cutting-edge artificial intelligence.
Asterix & Obelix: The Big Fight
The new series, based on the Asterix comics, is animated rather than live-action – a far more fitting choice, in my opinion. Live-action movies are fun, but they suffer from the "Batman syndrome": they risk coming off as unintentionally silly.
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The Studio
A guy (Rogen) takes over as the head of a Hollywood movie studio and tries to balance his love for cinema with the CEOs’ hunger for more money and blockbuster hits.
Adolescence
watched the show almost as soon as it came out, without knowing anything at all about the plot. In its violent opening, the director makes sure to lay down the fundamental premise for the protagonist: a scared 13-year-old boy who wakes up in his childhood bedroom and wets himself. The forceful police presence stands in contrast to the obedient parents trying to protect the illusion of family peace. The mother cries and wails, but she’s also the calm one, making phone calls to ensure their home is okay. The father, on the other hand, shuffles around like a pitiful man trying to be tough—just as he’s expected to be.
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Your Friendly Neighbourhood Spider-Man
If you read Spider-Man comics in the '90s and you're tired of intergalactic and multiversal superhero battles, check out Your Friendly Neighbourhood Spider-Man on Disney+ .