I've Watched 28 Movies So Far This Year: Here are my Favorites, by Kas Batchelor
- wmsr60
- 3 days ago
- 13 min read
I love movies. Often if I have a spare two hour window when I’m not drowning in work, I’ll fill my time by watching anything I can get my hands (or should I say eyes?) on. During this past J-Term when I had hours to spare, I spent my free time viewing everything I could fit into that six-week time span. No, I’m not a “cinephile.” Yes, I am an extremely opinionated Letterboxd user ...there’s a difference. Usually, I don’t focus my analysis on particular theories of film like I was taught in film studies classes. Instead, I go based off of my emotions or what I gained from the movie, how the film evokes pathos within me. That’s how I differentiate whether I enjoy a movie or not. I have my tastes, thoughts, and ultimately sometimes controversial takes on popular movies. But above all, I love seeing art.
I love movies that make me feel introspective and seen, even when they discuss situations I’ve never encountered before. If I can’t relate to the themes, I know there’s someone out there who does. Movies aren’t always meant to be beautiful and life-changing, but when they are, that makes all the difference. I want to feel how the actors feel, I want to view the scenes from the perspective of the writers and directors—that is what constitutes a good movie in my eyes. When films make you laugh, cry, smile, or cringe, that is the art doing what it intended to do. I’ve watched 28 films as of February 2026, and here are my top eight favorites from that list. Some of these reviews may contain slight spoilers and trigger warnings, so please read at your own risk!
Letterboxd rating: 3½ / 5
TW: violence, gore, psychological abuse
Favorite review: “Jigsaw if he was an insufferable reddit atheist” from user staceyerinm
Heretic (2024) is a movie that I sincerely think will become a cult classic in a few decades. Starring Hugh Grant, Sophie Thatcher, and Chloe East, this movie takes religious horror and turns it on its head in a thrilling way. It’s very atmospheric and tense, keeping you on edge at all times. The viewer is able to tell that something is off, but you can’t quite put your finger on it at first. Hugh Grant plays the villain in this movie, Mr. Reed. He is a psychopathic, passive-aggressive character who seems harmless at first, which makes the infrequent switches to pure aggression so much more jarring. He uses his intellect to hurt women, mainly missionaries from various religions, all in the service of finding the “one true religion.”
Hugh Grant’s character steals the show in a sardonic and witty way (as most of his characters do), but what truly stood out to me was the resourcefulness and determination of Sophie Thatcher and Chloe East’s characters, Sister Barnes and Sister Paxton respectively. In the literal face of hopelessness and death, they must figure out how to escape Mr. Reed and save themselves from his despairing control. It’s stressful, but insightful; even beautiful. Heretic is the kind of horror movie that makes you think about your own beliefs and constructs of religion. It doesn’t hold back on its thoughts which allows the viewer to internalize its themes to fullest. If you’re into jaw-clenching thrillers, religious commentary, or even feminist horror movies, I would recommend watching this film.
Letterboxd rating: 3 ½ / 5
TW: homophobia/discrimination, nudity, brief mention of suicide
Favorite review: “gay dad or thot mother?” from user gremlita
The Birdcage (1996) is a queer, offbeat comedy starring many famous actors from the ‘90s, including: Robin Williams as Armand Goldman, Nathan Lane as Albert, Gene Hackman as Senator Kevin Keeley, and Dianne Wiest as Louise Keeley. Safe to say, the cast is “star-studded.” This movie made me laugh incredibly hard, but I was also invested in the serious drama just as much. Armand’s son Val comes home and announces that he is engaged to a woman named Barbara, and they intend to be wed soon. However, her parents are the ultraconservative Senator Kevin Keeley and his wife Louise. After the news of a government scandal breaks, Kevin is worried that the news of Barbara’s engagement to Val in the wake of the drama will scare off his parents, ruining their chance of making him look more like a family man. Therefore, the Keeley’s are determined to meet Val’s parents to save face. What they don’t realize is that Val’s dad, Armand, is a gay Jewish cabaret owner of a drag club called The Birdcage and his boyfriend, Albert, is the star of the show. This leads to the natural conclusion of Albert wearing drag to pretend to be Val’s mother—of course, hijinks ensue.
I found this movie to be so moving and beautiful; a true story of the importance of found family and acceptance. It embraces the humor of the situation the families find themselves in while also layering social commentary on tolerance and pride underneath it all. But of course, as many ‘90s movies do, it has some flaws and strange jokes. Ultimately though, it is a comedic movie that wants its viewers to leave feeling closer to those around them. I would recommend this movie to anyone who enjoys queer comedy and wishes to see one of the many founding movies of the genre.
Letterboxd rating: 4 / 5
TW: strong sexual content, offensive language (slurs), violence (death and fighting)
Favorite review: “”I can fix him” says a guy who is worse” from user mayofrommars
Twinless (2025) is a new movie that is completely impossible to predict. Starring Dylan O’Brien as twins Rocky and Roman as well as director and writer James Sweeney as Dennis, this dark comedy loves keeping you on your toes. It’s intense, often cringe worthy, but deals with the concepts of grief, identity, and eventual acceptance. We meet Roman at a twin grief support group, and immediately realize that he is severely depressed and lost after his twin, Rocky, has died. Rocky is presented as a foil to Roman. While Roman is reserved and angry, Rocky is shown as friendly and flamboyant. Therefore, after Rocky’s death, Roman feels like he doesn’t know who he is anymore. During the support group he meets Dennis, who also claims to have lost his twin. They form an almost co-dependent friendship, rooted in deception, accompanying each other for things they used to do with their twins. As Roman begins to heal, we learn a stark truth about Dennis that flips the entire story on its head.
Twinless is incredibly captivating and intense, it’s like watching a train crash. Additionally, it is also one of Dylan O’Brien’s best performances. The script fully allows him to create both Rocky and Roman as solid, grounded characters with realistic motivations and emotions. His performance carries so much weight throughout the film; his grief is evident to us as viewers. This was also the first film I had seen directed by newcomer to the scene, James Sweeney; and wow, was I impressed. His writing allows life to flow and for the characters to evolve. It's extremely energetic and busy, humorous when needed, but heartbreaking just the same. I would recommend this movie if you’re looking for a psychologically astounding movie. It's one that will defy your expectations at every new plot point.
Letterboxd rating: 5 / 5
TW: intense violence and death scenes, alcohol and drugs, psychological manipulation
Favorite review: “Look what happens when you give a white man a gun” from user izzarrbizzarr
Hear me out. I’m sure so many people have seen The Hunger Games: The Ballad of Songbirds & Snakes (2023) by now (personally I’m on my 5th rewatch), but I’m hoping this review will convince you to either watch it if you haven’t yet, or re-watch it from a new lens. Starring Rachel Zegler as Lucy Gray Baird and Tom Blyth as Coriolanus Snow, this movie is a prequel to the titular Hunger Games book and movie series. When 12th district resident Lucy Gray is unfairly selected as a tribute for the 10th annual Hunger Games, Coriolanus is assigned to be her mentor to assist her in winning. Driven by greed and power, Coriolanus manipulates his way to the top through cheating to help her win at any cost. Ultimately, she wins but this costs him his status in the Capitol district, demoting him to a Peacekeeper in the 12th district. Still determined to have power and get back to the Capitol, we see him navigate his relationship with Lucy Gray in contrast to his need for more. Lucy Gray, on the other hand, wishes to be free. She wishes for more in the sense of a better, equal life for her and her family. Both Zegler and Blyth steal the show in this film; Zegler as a free spirited singer, and Blyth as a power hungry abuser. This creates a strong contrast within the movie, do people ultimately yearn to be free or yearn for power?
Like many of Suzanne Collins' adaptations, The Ballad of Songbirds & Snakes is a movie that discusses the intersectionality of class with gender and human nature. Those themes create not only strong and fulfilling characters, but also raise a point to why the novel and movie were created in the first place. i.e., for social commentary. Despite the deeper sense conveyed, it is a beautifully written and filmed movie that showcases how complex human beings can be when they’re pushed to their limits. Suspenseful, distressing, and equally heartwarming: the story tugs you between the duality of Coriolanus and Lucy Gray. I would recommend this movie even if you have no interest in the Hunger Games franchise—it is dystopian and filled with action, perfected with the wonderful emotion that the leads convey.
Letterboxd rating: 4 / 5
TW: strong sexual content, violence, drug use
Favorite review: “every time they called each other “baby” I was forced to take a long and shuddering breath” from user davidfinchher
Sleeping with Other People (2015) is a romantic comedy that almost refuses to be a rom-com at first. Starring one of my favorite actors of all time, Alison Brie as Lainey and Jason Sudeikis as Jake, this non-conventional movie flew under the radar in the various discussions of rom-coms I’ve seen floating around the internet. I’m determined to watch Brie’s entire filmography, which is where I finally found this movie. The plot revolves around Lainey and Jake, more specifically their commitment issues that get in the way of forming meaningful relationships with others. After hooking up in college, they meet again 12 years later at a sex-addict therapy group and decide to stay friends. Without the worry of romance or sex weighing over their relationship, they’re able to form a meaningful connection with each other as they navigate their lives. Despite arguments, trials, and relationships they eventually form with others, everyone can tell that they like each other… except for them.
This “will they, won’t they” trope is one of my favorites in rom-coms, especially when it stars two loveably bad people. It’s very When Harry Met Sally-esque (1989), but from a modern lens of the 2010s dating scene. The chemistry between Lainey and Jake is what truly steals the show. There’s a strong love between the two as only best friends that adds to the movie, eventually blossoming into something more. Sleeping With Other People feels messy and complicated, just like our two main characters. Deep down though, it reflects the complexity of human nature and how relationships aren’t always easy to form and keep. I would recommend this movie if you’re looking for an offbeat, witty rom-com that defies the usual constraints of the genre.
Letterboxd rating: 4 / 5
TW: graphic violence and gore, kidnapping, mentions of sexual assault, suicide, abuse, photosensitivity
Favorite review: “I’ve had similar conversations with gingers like that” from user avshffer
Bugonia (2025) is a sci-fi thriller movie that exceeds many expectations of the genre through its imagery, pacing, and storyline. It’s 100% worth all of the nominations it has received. Starring Emma Stone as Michelle, a high profile CEO as well as Jesse Plemons and newcomer Aidan Delbis as Teddy and Don, two conspiracy theorists; all three actors play one of their best performances of all time. One afternoon, Teddy and Don kidnap Michelle, convinced that she is an alien in control of Earth with the intent to destroy humankind. By using a variety of methods to figure out whether or not Michelle is an alien, all three characters are pushed to their breaking point of paranoia and distrust. While this movie is stunning with its characters and visuals, it also has a deeper commentary on the destruction of our ecological landscape. It’s more than “human bad, Earth good;” it’s a realization that even if humans cease to exist, there will still be life present with or without us. It’s not a meaning that can just be realized and then moved on from, in fact, it’s one we see so prevalent in our current discourse on climate and ecological preservation. Lanthimos and the actors want us to sit with this commentary and fully take it in. I’ll leave my description vague as spoiling this movie would be unfair to those who haven’t seen it, but the build up to the eventual conclusion is fast-paced and intense, almost like the destruction of humankind itself. I would recommend this movie to anyone interested in the subjects I touched on as well as those with interests in sci-fi movies that have real-world discourse.
Letterboxd rating: 5 / 5
TW: sexual content, abortion, forced marriage, brief mention of suicide
Favorite review: “They seem to be very good friends” from user ilyclemmie
Welcome to one of my top 4 movies of all time! Portrait of a Lady on Fire (2019) is a French drama and romance that may be one of the greatest love stories of our lifetime. Starring Noémie Merlant as Marianne and Adèle Haenel as Héloïse, this poignant and beautiful movie feels like it was created to both break and fix your heart… mainly break. At the end of the 18th century, Marianne is sent to an isolated island off of the coast of Brittany, tasked with painting a wedding portrait of the mysterious Héloïse without her realizing that she is painting her. Héloïse is simply told that Marianne is there to accompany her on walks to the coast. As the women get closer, they find out more about each other and themselves. This friendship blossoms into a beautiful relationship filled with love, trust, and desire. Both women desire a life together that they cannot have. With many references to Greek mythology, music, and art, this beautiful film fully seeps you into Marianne and Héloïse’s world with all of the heartbreak that comes from being forbidden to freely love each other.
No, you don’t have to be queer or French to enjoy this film for all that it’s worth. If you simply wish to see a wonderfully tragic love story, I recommend this one highly. Each scene of Portrait of a Lady on Fire feels as if it came right out of a painting itself. The score moves and sways your emotions with every lovely note played. Both Merlant and Haenel fully convey the yearning that they feel, as well as the heartbreak. I’ll just say that the ending scene is one that will stick with you forever. Even though we aren’t French women living in the 18th century, it still has a central theme that everyone can relate to: wanting something you can’t have. I recommend this film to everyone. It’s very vague but it’s true; if you’re seeking a love story that feels so much more than that, then this is the film for you.
Letterboxd rating: 5 / 5
TW: sexual assault (not shown), trauma, sex and nudity, strong language
Favorite review: “The cat distribution system works when you need it the most” from user sr_b
I’ll start my final review and my favorite movie I’ve seen so far with a strong warning: if you have experienced sexual assault then please be highly mindful of your capacity to watch a movie revolving around that content. While it is so worth it, do not push yourself past that limit until you know you’re ready. If you start to feel triggered while watching it as well, then also do not push yourself to keep watching. You’re not alone.
Sorry, Baby (2025) is written by, directed by, and starring Eva Victor as our main character Agnes, as well as her best friend Lydie, played by Naomi Ackie. Agnes feels stuck in her life, she feels as if she’s stagnant with no direction to go in. A few years ago when she was a graduate student, Agnes was sexually assaulted by her graduate advisor under the pretenses of him admiring her thesis and work. A bad thing happened to her. Since then, she still lives in the New England house she and Lydie shared as graduate students, taking over as a professor at her alma mater. She still is struggling with the aftermath of this assault, finding all of the distressing ways it has affected her personal life, friendships, and future attempts at relationships. In contrast, Lydie has moved to New York with her wife and is expecting a baby. While Agnes and Lydie are still incredibly close, Agnes feels disconnected from the new life Lydie is leading—she still feels stuck from the assault. Her world became smaller and she retreated into a shell, besides for an abandoned kitten she found and decided to adopt. What an example of the cat distribution system doing its job.
There are so many things that set this film apart from others, especially ones that deal with the same topic. It’s tasteful, it’s beautiful, it’s realistic, and extremely human. As I say in my Letterboxd review, this movie broke my heart and then put it back together again. There is nothing more fulfilling as a victim of assault than seeing sexual trauma and the aftermath depicted in a manner that doesn’t feel fetishized or romanticized. Don’t be fooled though, despite the heavy underlying focus, we see Agnes as a full-fledged human being who copes with this trauma through sardonic humor, her relationship with Lydie, and of course, her cat. It’s comedic with purpose; light at the right moments then deeply serious in others. It’s a way to process, a way to work through the heavy emotions. The point of this immensely beautiful movie is to show that healing isn’t linear, nor perfect or fast. It’s complex and more than words can describe. Watching Sorry, Baby is like your best friend wrapping you in a warm, safe hug and telling you that everything will be okay. It’s for people to work through the “bad thing” that happened to them. I deeply love this movie and I recommend it to anyone looking for a mode of healing expressed through film.
I love movies. I love the beauty, the depth, and the story conveyed. Movies allow for people to feel, laugh, and cry to the fullest. It’s a way to see ourselves and our society reflected through art. All 8 of these films are increasingly different, but work to show the complexity of humankind and the difficult and beautiful aspects that come with being a person—ultimately showing what a movie is meant to do.
You can find my Letterboxd at @kasbatchelor
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