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(11/27/25 5:00am)
In Shih–Ching Tsou’s Left–Handed Girl, Taipei glows like a fever dream. It’s a city that never stops selling—night–market snacks, secondhand kitchenware, wholesale jewelry, you name it—but it also trades in the lives of its people. The film’s neon–lit streets and humid night markets form the backdrop for a portrait of working–class womanhood that’s both romantic and devastating.
(12/05/25 5:00am)
We’ve all heard the saying “survive ’til ’25.” And while the entertainment industry may still be asking for more time to heal, there was certainly no shortage of output this year. Whether you prefer the cozy, C418–backed gameplay of Minecraft, you’re a fan of the high–tension lovable ragebait of the Five Nights at Freddy’s franchise, or you adore The Last of Us but find yourself too scared to pick up a controller and play it (though I would encourage you to put on a brave face and try), there is an adaptation for you. Originals also have their moments, with A24 indie darlings putting their stars on the map, family dramas winning the Cannes Grand Prix, and animated musicals about a K–pop girl group topping the film and music charts for months on end. Whatever your preferences, this year had something for everybody—and some of Street’s most chronic Letterboxd users are here to tell you their favorites.
(11/25/25 4:03pm)
Content warning: This article contains mentions of violence towards children that can be disturbing and/or triggering for some readers.
(11/28/25 5:00am)
There was a point this summer when it felt like every weekend belonged to the same studio. Warner Bros. kept dropping films that opened at No. 1, stacking one hit on top of the next until the run became the biggest win streak in recent memory. At the same time, streaming settled into its own rhythm: Apple TV+ pushed itself into the mainstream for the first time. HBO Max reminded everyone why its brand still defines prestige. And almost every major platform, from Netflix to Disney+, exposed the widening gap between streaming ecosystems and the theatrical market they once tried to absorb. The year didn't yield a single victor so much as a set of overlapping successes—one for theaters, one for television, and one for the industry’s sense of identity.
(11/25/25 4:01pm)
Does photorealism make for a good documentary?
(11/10/25 6:00pm)
When will Jordan Peele run out of those distinct one–to–two–word film titles? Nobody knows, but one thing’s for sure: his previous listings (Nope, Get Out, and Us) are hard to forget, and their successes indicate that he isn’t slowing down anytime soon. These films are all widely considered to be era–defining works in the history of Black filmmaking, so there's really no reason to expect a bad film from Peele at present. Hopes were high and held strong when the latest installment in his repertoire, Him, was announced. Except—it wasn’t his film. And the reception of it made clear that people realized that all too late.
(11/12/25 4:58am)
In front of New York’s Bethpage Black Golf Course is an ominous sign that reads: “The Black Course is an extremely difficult course which we only recommend for highly skilled golfers.” What’s already a daunting course, even for the best professional golfers in the world, becomes much harder when the stakes are high—and what stakes could be as high as competing not just for yourself, but also for the pride of an entire continent or country? The Ryder Cup already pushes players to the very limits of their abilities. But this year, another element exacerbated their stress: heckling fans.
(11/24/25 10:58pm)
There’s a moment in It Ends when a car’s headlights catch the glint of something in the trees and James (Phinehas Yoon), the film’s uptight and hyper–rational protagonist, can only say: “We need to keep going.” The others don’t protest. No one knows what’s ahead, but stopping means danger. For anyone else in their twenties right now, it feels painfully familiar. We all keep driving, even if we don’t know what the road before us looks like anymore.
(11/18/25 5:00am)
As “team bonding,” my club gymnastics coach used to force our whole team to participate in Fright Nights—a weekly ritual where we would gather after practice to watch a horror movie and then attempt to leave the gym without being scared to death by each other’s pranks. My teammates and I spent those nights gripping each other’s arms tightly and screaming at any sudden movement. I used to dread them at first, but after a couple of years, I realized they'd become something I looked forward to. I don’t think I could say that I loved watching those movies … but I did love the adrenaline–induced stupor that they left me in.
(11/26/25 5:00am)
When Stranger Things first arrived on Netflix in 2016, it felt immediate—fresh, small–town, 1980s horror with kids on bikes, Eggo waffles, and monsters in the dark. The episodes came fast, and the show became a pop–culture phenomenon almost overnight. But for a series that had such a remarkable first impression, its pace has changed drastically since. By the time its fifth and final season arrives in late 2025, nearly a decade will have passed since the premiere. The show will have delivered a mere five seasons in ten years. For many fans and observers, the question isn’t just “What happens next?” but “What took so long?”
(11/24/25 10:41pm)
Marvel’s upcoming slate reads like both a comeback attempt and a confession. After a stretch of uneven projects and shrinking box office returns, the studio’s 2026 lineup looks like an effort to prove it still knows how to build anticipation. But whether these titles function as a genuine reset or a carefully arranged apology will depend on how much of their ambition translates into coherence.
(10/30/25 2:52pm)
The first trailer for The Mandalorian & Grogu, released in September, should have felt like a victory lap. For years, fans wondered when Din Djarin (Pedro Pascal) and his tiny green apprentice would debut on the big screen. Instead, the first footage from the film landed with a thud. The visuals were crisp, the scale was familiar, but the feeling was faint. It looked less like a movie and more like an extended TV episode—a midseason special that somehow wandered into theaters.
(10/23/25 4:56pm)
James Gunn’s Peacemaker just wrapped up its second season, and with it, one of the strangest and most ambitious swings in superhero television. The finale leaves the titular anti–hero stranded in another dimension, sets up the upcoming not–a–Superman–sequel film Man of Tomorrow, and quietly introduces some major concepts for the DCU’s future. What it doesn’t do, however, is end its own story.
(11/21/25 2:29am)
Comfort. Fuel. Practicality. Decadence. We all eat, but how we conceptualize food is a different question altogether. Whether it’s perfectly framed shots of sizzling meat or the nauseating reality of the United States’ fast–food scene, food on the big screen never fails to invoke a visceral reaction. Here are some of Street’s favorite depictions—from the appealing to the appalling.
(10/21/25 3:52am)
You’d be hard–pressed to find someone who’s never heard of The Office. Over the course of its nine–season run, the workplace sitcom cemented itself as a quintessential “comfort show,” and has since become one of the most beloved shows of our time. It’s for good reason—with characters who walk a fine line between ridiculous and recognizable, zingers that get stuck in your head long beyond when you want them to, and jokes that make you laugh even when you probably shouldn’t, it’s not the type of show you easily forget. But emotional resonance aside, its immense success reflects the time in which it aired —a time before streaming was universal and before social media fried all of our attention spans. So what does it look like to revisit the Dunder Mifflin universe twenty years later? This is the question that Greg Daniels and Michael Koman both ask and answer with their new The Office spin–off series The Paper.
(10/21/25 4:16pm)
It’s a daunting feat to successfully mix an action–comedy blockbuster with a prestige political thriller, but Paul Thomas Anderson does just that with One Battle After Another. The nearly three–hour film packs in everything from exhilarating shootouts to family drama, from “a few small beers” to reflections on political violence—and with such broad strokes of its brush, it’s no wonder that it’s been dubbed the “most controversial” film of the year.
(10/14/25 8:44pm)
After the Hunt arrived at the New York Film Festival as a thriller that’s less about crime than it is about perception, power, and the institutions that shape both. Set in the cloistered world of an Ivy League university (Yale, luckily, and not Penn), the film follows Alma (Julia Roberts), a tenured professor who finds herself entangled in accusations, betrayals, and the unforgiving politics of elite education.
(10/08/25 5:39pm)
There’s nothing quite like a speedster vaporizing a woman to introduce a new series. From its premiere in 2019, the critically acclaimed series The Boys has achieved a level of success rare in the industry today. Its masterful references to topical events, combined with its use of unique marketing tactics, has allowed it to garner an audience dialed into its criticism of capitalist America.
(10/07/25 2:16pm)
Contains spoilers for both The Long Walk and The Hunger Games series (if people somehow haven’t read or seen the latter)
(10/26/25 3:20am)
Mobile Images, an exhibition on Mavis Pusey at the Institute of Contemporary Art co–organized with the Studio Museum in Harlem, is an insightful exploration of the world through the lens of geometric forms and abstractions. It was curated by Hallie Ringle, Daniel and Brett Sundheim Chief Curator of the ICA, alongside Kiki Teshome, curatorial assistant at the Studio Museum in Harlem.
