{"id":11541095,"date":"2025-07-04T09:40:11","date_gmt":"2025-07-04T13:40:11","guid":{"rendered":"https:\/\/www.baltimoresun.com\/?p=11541095&preview=true&preview_id=11541095"},"modified":"2025-07-04T09:40:30","modified_gmt":"2025-07-04T13:40:30","slug":"2025-best-movies","status":"publish","type":"post","link":"https:\/\/www.baltimoresun.com\/2025\/07\/04\/2025-best-movies\/","title":{"rendered":"2025\u2019s best movies (so far) include \u2018Sinners,\u2019 \u2018Sorry Baby\u2019 and \u2018One of Them Days\u2019"},"content":{"rendered":"

By LINDSEY BAHR and JAKE COYLE, Associated Press<\/strong><\/p>\n

Often the best movies of the second half of the year come almost preordained as the Oscars Industrial Complex revs into high gear. The first half, though, can offer more of a thrill of discovery.<\/p>\n

The first six months of 2025<\/a> have offered plenty of that, including indie gems, comedy breakouts and sensational filmmaking debuts. Here are our 10 favorites from the year\u2019s first half.<\/p>\n

The Ballad of Wallis Island<\/h4>\n
This image released by Focus Featires shows Carey Mulligan as Nell Mortimer, left, and Tom Basden as Herb McGwyer in a scene from “The Ballad of Wallis Island.” (Alistair Heap\/Focus Features via AP)<\/figcaption><\/figure>\n

\u201cThe Ballad of Wallis Island\u201d<\/a> is the kind of charming gem<\/a> that\u2019s easy to recommend to any kind of movie lover. It is goofy and friendly, has an armful of lovely folk songs, an all-timer of a rambling character, in Tim Key\u2019s eccentric and completely lovable Charles, Tom Basden\u2019s grumpy, too-cool straight man, and the always delightful Carey Mulligan. \u201cWallis Island\u201d is a film about letting go and moving on told with humor, wit and a big heart. Also hailing from the British Isles is the equally delightful \u201cWallace & Gromit: Vengeance Most Fowl.\u201d (streaming on Peacock) \u2014Bahr<\/em><\/p>\n

One of Them Days<\/h4>\n

The big-screen comedy has been an almost extinct creature in recent years, but Lawrence Lamont\u2019s \u201cOne of Them Days\u201d<\/a> gives me hope. Not only was this buddy comedy a surprise box-office hit, it is probably the exhibit A in the case of Keke Palmer<\/a> Should Be in Everything. She and SZA, in her film debut, play Los Angeles housemates in a madcap race to make rent. (Streaming on Netflix)<\/a> \u2014Coyle<\/em><\/p>\n

Sorry, Baby<\/h4>\n
This image released by A24 shows Eva Victor in a scene from “Sorry, Baby.” (Mia Cioffy Henry\/A24 via AP)<\/figcaption><\/figure>\n

There\u2019s a sequence in Eva Victor\u2019s delicate, considered and disarmingly funny directorial debut, \u201cSorry, Baby\u201d<\/a> that kind of took my breath away. You know something bad is going to happen to Agnes, it\u2019s literally the logline of the film. You sense that her charismatic thesis adviser is a bit too fixated on her. The incident itself isn\u2019t seen, Victor places their camera outside of his home. Agnes goes inside, the day turns to evening and the evening turns to night, and Agnes comes out, changed. But we stay with her as she finds her way to her car, to her home and, most importantly to her friend, Lydie (Naomi Ackie). This is a film about what happens after the bad thing. And it\u2019s a stunner. (In theaters) \u2014Bahr<\/em><\/p>\n

Black Bag<\/h4>\n
This image released by Focus Features shows Cate Blanchett, left, and Michael Fassbender in a scene from “Black Bag,” a film written by David Koepp. (Claudette Barius\/Focus Features via AP)<\/figcaption><\/figure>\n

Arguably the best director-screenwriter tandem this decade has been Steven Soderbergh and David Koepp<\/a>. They were behind the pandemic thriller \u201cKimi\u201d<\/a> and another standout of 2025, the ghost-POV \u201cPresence.\u201d<\/a> But their spy thriller-marital drama \u201cBlack Bag,\u201d<\/a> starring Michael Fassbender and Cate Blanchett as married British intelligence agents, may be their best collaboration yet. It\u2019s certainly the one with the most delicious dialogue. How has it taken the movies this long to make a dinner scene with spies dosed with truth serum? (Streaming on Peacock) \u2014Coyle<\/em><\/p>\n

Materialists<\/h4>\n
This image released by A24 shows Dakota Johnson, left, and Pedro Pascal in a scene from “Materialists.” (A24 via AP)<\/figcaption><\/figure>\n

Celine Song\u2019s \u201cMaterialists<\/a> \u201d might not be the film people wanted it to be, but it\u2019s the film they need in this land of high-end dating apps, designer dupes and everyone pretending to live like minor socialites on Instagram. A thoughtful meditation on money, worth, love and companionship, this is a film that upends everything we\u2019ve come to think we want from the so-called romantic comedy (the idea of prince charming, the inexplicable wealth that\u2019s supposed to coexist with middle class mores). Lifestyle porn will always have a place in the rom-com machine, but this is a populist film, both modern and timeless, that reminds us that love should be easy. It should feel like coming home. \u201cMaterialists\u201d is simply the most purely romantic film of the year. (In theaters) \u2014Bahr<\/em><\/p>\n

Sinners<\/h4>\n
This image released by Warner Bros Pictures shows Michael B. Jordan, foreground from left, Michael B. Jordan and Omar Benson Miller in a scene from “Sinners.” (Warner Bros. Pictures via AP)<\/figcaption><\/figure>\n

Not only does the wait go on for Ryan Coogler to make a bad movie, he seems to be still realizing his considerable talents. There are six months to go, still, in 2025, but I doubt we\u2019ll have a big scale movie that so thrillingly doubles<\/a> (see what I did there) as a personal expression for its filmmaker as \u201cSinners.\u201d<\/a> This exhilarating vampire saga is ambitiously packed with deep questions about community, Black entertainment, Christianity and, of course, Irish dancing. (Streaming on Max)<\/a> \u2014Coyle<\/em><\/p>\n

Pavements<\/h4>\n
This image released by Utopia shows Joe Keery, portraying Stephen Malkmus in a scene from “Pavements.” (Utopia via AP)<\/figcaption><\/figure>\n

In a world of woefully straightforward documentaries and biopics about musicians, Alex Ross Perry decided to creatively, and a little chaotically, upend the form with his impossible-to-categorize film about the 90s indie band Pavement<\/a>. Blending fact, fiction, archive, performance, this winkingly rebellious piece is wholly original and captivating, and, not unlike Todd Haynes\u2019s \u201cI\u2019m Not There,\u201d the kind of movie to turn someone who\u2019s maybe enjoyed a few Pavement and Stephen Malkmus songs into a fan. (In theaters, streaming on MUBI July 11) \u2014Bahr<\/em><\/p>\n

April<\/h4>\n
This image released by Metrograph Pictures shows Ia Sukhitashvili in a scene from “April.” (Metrograph Pictures via AP)<\/figcaption><\/figure>\n

A rare and exquisite precision guides Dea Kulumbegashvili\u2019s rigorous and despairing second feature<\/a>. Beneath stormy spring skies in the European country of Georgia, a leading local obstetrician (Ia Sukhitashvili) pitilessly works to help women who are otherwise disregarded, vilified or worse. This is a movie coursing with dread, but its expression of a deep-down pain is piercing and unforgettable. (Not currently available) \u2014Coyle<\/em><\/p>\n

On Becoming a Guinea Fowl<\/h4>\n
This image released by A24 shows Susan Chardy in a scene from “On Becoming a Guinea Fowl.” (Chibesa Mulumba\/A24 via AP)<\/figcaption><\/figure>\n

A visually, and thematically arresting marvel, Rungano Nyoni\u2019s<\/a> darkly comedic, stylish and hauntingly bizarre film about unspoken generational trauma takes audiences to a place, I\u2019m guessing, many have never been: A Zambian family funeral. And yet its truths ring universal, as the elder generation turns their heads from the awful truth that the dead man, Fred, was a predator and pedophile, while the younger wonders if things must stay as they are. (Streaming on HBO Max on July 4)<\/a> \u2014Bahr<\/em><\/p>\n

Friendship<\/h4>\n
This image released by A24 shows Tim Robinson, left, and Paul Rudd in a scene from “Friendship.” (A24 via AP)<\/figcaption><\/figure>\n

On TV, Tim Robinson and Nathan Fielder have been doing genius-level comedy. Fielder hasn\u2019t yet jumped into his own films, but, then again, it\u2019s hard to get an epic of cringe comedy and aviation safety like season two of \u201cThe Rehearsal\u201d into a feature-length movie. But in \u201cFriendship,\u201d<\/a> writer and director Andrew DeYoung brings Robinson, star of \u201cI Think You Should Leave,\u201d into well-tailored, very funny and dementedly perceptive movie scenario. He plays a man who awkwardly befriends a cool neighbor (Paul Rudd). While their differences make for most of the comedy in the movie, \u201cFriendship\u201d \u2014 which culminates in a telling wink \u2014 is really about their similarities. (Available for digital rental) \u2014Coyle<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The first six months have offered indie gems, comedy breakouts and sensational filmmaking 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