Film & TV
Best of Film & TV in 2025
Street picks our favorite movies and shows of the year.
Why Do We Love the Death Game?
From ‘Squid Game’ to ‘The Running Man,’ death game stories turn our reality into an arena we can understand—and let us imagine coming out on top.
‘Nobody Wants This’ is the Rom–Com We All Need
Can disagreements and arguments actually serve to strengthen connections?
Street at the Philadelphia Film Festival
See Street's latest dispatches from the halls of the Philadelphia Film Society.
‘Urchin’ and the Art of Not Looking Away
Harris Dickinson’s breakout directorial debut combines transcendence and addiction into spiritual horror.
Who Won Film and TV in 2025?
How theaters and streaming pulled in different directions
‘Left–Handed Girl’ Traces Three Generations of Women—and the Pressures That Never Leave
Shih–Ching Tsou’s debut feature is an intimate Taiwanese drama about survival, adaptation, and the unchanging demands on people’s lives.
The Slow Burn of ‘Stranger Things’: Why Hawkins Took Its Time
Netflix’s biggest show grew up too slowly for its own good.
Review: ‘The Voice of Hind Rajab’ is The Wake–Up Call We Shouldn’t Need
The darling of the Venice International Film Festival chronicles the day that this six–year–old Palestinian girl should have been rescued.
‘Cover–Up’ Keeps Its Head Buried
The Netflix documentary is about big, explosive truths—but its filmmaking is surprisingly muted.
‘It Ends’ Confronts the Horror of Growing Up
Alexander Ullom’s feature debut terrorizes a generation that can’t stop searching for meaning—or an exit.
Marvel’s 2026 Lineup Might Finally Show Us What Comes After the Multiverse
The studio’s most ambitious year in a decade could decide what Marvel means now.
Eat With Your Eyes
These films don’t hesitate to put food on the table.
Why Horror Hits Home
On the strange comfort of discomforting cinema
Please Don’t Ruin the Ryder Cup
Is sportsmanship dead? Have spectators killed it?
‘Him’ Critics Might Have the Wrong Guy
Producer, director, what’s the difference? The film’s marketing team doesn’t seem to know—or care.
‘Star Wars: The Mandalorian & Grogu’ Already Feels Small
Lucasfilm’s first post–Skywalker film shrinks its galaxy by refusing to let go.
‘Peacemaker’ Season 2 Proves Even James Gunn Can’t Rage Against the Franchise Machine
The DCU’s best story is becoming another casualty of world–building, and Gunn’s double life as filmmaker and studio head may be to blame.
‘One Battle After Another’ Isn’t the Revolutionary Film You Think It Is
In his new action thriller, Paul Thomas Anderson trades neat manifestos for messy humanity.
