We’re past the first part of a packed with big premieres 2025. The beginning of the year was pretty slow. For a start, Disney scored a setback with the latest installment of Captain America. The final cut resembled Frankenstein’s monster and was a victim of script changes and huge rewrites. It was met with a cold reception and was another crack in the audience’s trust in Marvel. However, the biggest disappointment of the beginning of the year was Mickey 17. Being an admittedly solid film, it did not live up to the high expectations set for the award-winning filmmaker. In the end, the production failed to attract crowds to theaters. Shortly afterwards, the high-budget Disney film Snow White received possibly even lower interest in theaters. Smaller productions like Novocaina and The Monkey received a positive reception but also failed to draw crowds. On the other hand, Companion was a positive surprise. The small production won hearts by telling a story about the complexities and hardships of getting out of a toxic relationship through the lens of science-fiction horror. Still, it was a rather small-scale success.

However, Warner Bros, after a falloff with Mickey 17, turned things around with its April releases.
First, it drew large crowds with Minecraft, aimed at younger audiences. Two weeks later, they won the hearts of critics and audiences around the world with Ryan Coogler’s latest film: Sinners. The film proved to be a cultural phenomenon both critically and financially. The film became the highest grossing original production of the decade. This case continues the dominance of black directors in this field. With this feature, Ryan Coogler takes over this title from Jordan Peele’s movies.

Shortly after, Disney also redeemed itself in the eyes of audiences with Thunderbolts.
Marvel’s latest, made more aristically, production finally broke the studio’s negative streak. The film received a very positive reception thanks to its mature handling of the themes of depression, burnout and bipolar disorder.
We are now entering the busiest time of the year filled with blockbusters. Summer always draws the biggest crowds to theaters. So the studios are rolling out their largest guns. However, this year’s productions carry, besides big budgets, something more. Behind most of them are highly acclaimed directors. So let’s take a look at what we will see on cinema screens in the coming months.

28 Years Later

We begin this compilation with the third part of the saga of post-apocalyptic horror films taking place in a world taken over by a virus that increases aggression in people.
The first part took place 28 days after the start of the epidemic. The second, showed the state of the world after 28 weeks. This time we are in for a huge leap. We will no longer see the fight against the apocalypse. Now, we’ll witness how people have learned to live in a world consumed by it. The story will also remind us that even in the face of hoards of bestial infected, the greatest threat may be those who have remained sane.

The duo from the original is responsible for the film. Back then, however, they were young British filmmakers. Now they are virtuosos of modern cinema, some of the best in the business. Oscar-winning director Danny Boyle will be responsible for directing. The script, meanwhile, was written by Alex Garland, director of such films as Civil War and Ex machina.

The film continues the tradition of using budget cameras. In this case, it is… the iPhone 15 Pro Max. Thanks to the trailers, we can see a snippet of how the production will visually present itself. And it looks amazing. Shot with a phone, the production not only does not deviate, but also surpasses a large number of shots taken with high-end equipment. The shots are gorgeous, the colors are contrasting and sharp, and the composition itself is extremely artful.

F1

Joseph Kosinski saved movie theaters financially after the Pandemic and gave us one of the most spectacular cinematic experiences through Top Gun: Maverick.
Now he’s back with another big-budget project. Moving away from the theme of jet pilots to Formula One drivers. The story will focus on the clash of two different generations through racers played by Brad Pitt and Damson idris. The characters will have to find a common language to prove something to the world through working together.

Already at the stage of promotional materials it is evident that, despite the move down to earth, the film has not lost its characteristic, meticulous composition of frames based on perspective that the director brought from his architectural education. The film was created over a very long period of time due to the fact that it was shot only during the ongoing races. This allowed the filming of the rides of real cars and practical special effects. This approach will give us an extraordinary, tangible experience of the speed and danger of driving in such powerful machines.

Bring Her Back

Danny and Michael Phillipou are two youtubers who shocked the world.
Three years ago, with no experience beyond creating viral, experimental videos, they decided to sit on the director’s chair. At the time, no one expected the Internet celebrity siblings to create one of the best horror films of recent years. Their debut Talk to Me moved with its maturity in portraying coping with the deaths of loved ones or its vivisection of the problems of drug proliferation and crowd pressure.

Their second project will tell the story of siblings who stumble upon the traces of a disturbing ritual in the home of a new foster mother. The trailer evokes shivers. It combines traditional filmmaking with found footage treatments to create a highly enigmatic mix. It brilliantly presents the concept but leaves us with questions about what topics the filmmakers will tackle. We can only be sure that we are in for another analysis of contemporary issues, very close to the young generation, shown through the prism of a horror story.

Jurassic World Rebirth

Jurassic Park is a legendary title. So it hurts how the series, from movie to movie, scores a decline in form. The Jurassic World trilogy completely sank the series. This time we’re faced with a brand new story in a world where scientists don’t ask themselves “should they”. Here we will meet brand new characters: Dr. Henry Loomis played by Jonathan Bailey and the fearless Zora Bennet played by Scarlet Johhanson. They are at the head of an expedition to dinosaur island to collect DNA samples that will guarantee a breakthrough in medicine.

Behind the camera for this installment is Gareth Edwards. Known for his visually breathtaking productions, the director brings his distinctive, gorgeous cinematography to the series. Unlike the previous parts it is clear already in the trailer that the production has a visual style and relies much more heavily on practical special effects. However, this director has an Achilles’ heel. His films usually have nothing to offer but pretty sights. The droning dialogues and jokes from a previous era heard in the trailer might suggest that this is another filmmaker’s work with cardboard characters. On the other hand, it is pleasing, to hear in interviews about the director’s love for the brand and the dedication with which he creates the production. We will soon find out if the film is another visual hollow-shell of the director or if the artist has climbed to the heights and brought the series back to the level of Spielberg’s original.

Materialists

Rom-coms were the most popular genre of the late 20th and early 21st centuries.
With the first decade of the 2000s, there also came a burnout and the genre receded to the margins of Hollywood productions. Trends in audience interest and upcoming productions, however, show us that the genre is gearing up for a comeback. This time, however, the productions are to be more mature in their portrayal of relationships and emotions. One of the pioneers of this trend is to be Materialists.

The story will tell of a matchmaker played by Dakota Johnson who possesses an extraordinary intuition in choosing people’s ideal second halves. However, her instincts and analytical mind become useless against her true emotions. The heroine is torn between a love from her past – poor John played by Chris Evans – and rich and charming Harry – Pedro Pascal’s character – seeming the perfect match for her.

Behind the camera of the production is Celine Song, the director who wonderfully told the pain of lost first love and moved us to tears in the Oscar-nominated Past Lives. Now she is making a more commercial film but does not lose her artistic claw and drive in exploring human feelings.

Eddington

Ari Aster’s debut horror film Hereditary was so good that Scorsese himself publicly praised it.
With his next film, Midsommar, he defied the rules and showed that brilliant horror can also happen in the broad daylight. He combined satire and horror in an unprecedented way by telling a story about masculinity in Beau is Afraid.

After such successes, the director has assembled quite a cast in his upcoming movie. In supporting roles we will see, for example, such talented stars as Emma Stone and Austin Butler. The biggest attraction, however, will be the acting clash within the leading roles. Eddington, will focus on the conflict taking place in the title town during the time of the pandemic. On two sides of the barricade will be the sheriff, played by Joaquin Phoenix, and the mayor, portrayed by Pedro Pascal.

Within the framework of a contemporary western, the artist will touch on how such a crisis can cause a scuffle between the law and the bureaucracy, and how moments like this are exploited by politicians. The clash is expected to escalate into a low-level neighborhood war in a small town. This, too, is remarkably close to the contemporary problem of dividing society into sides. Another important aspect of the film will be the impact and development of social media and how it can affect our society and mental health. By doing so, the director wants to touch on problems that were our daily reality just a few years ago and which effects are still being felt today.

One Battle After Another

The already legendary and award-winning Paul Thomas Anderson returns with another production and joins forces with, long seeking this collaboration, Leonardo Di Caprio.

Known for his ambitious, multi-layered dramas, this time the director is taking on… action flick. Despite the clichés that come to mind, however, it is intended to be a mature, original cinema that tells a story as artistically as his previous creations. The film will tell the story of a ex-revolutionary who rallies his former comrades and once again grabs a gun to save his daughter. She is about to be kidnapped by a past enemy of the rebels.

One of the best contemporary directors makes films relatively infrequently, every few years. However, each of his creations is a kind of masterpiece of this branch of art. We hope it will be the same here. The trailer presents unconventional cinema, full of black humor and satirical commentary. In addition, it is filled with experimental shots and camera work made possible thanks to the use of new technology.

Highest 2 Lowest

The most successful original films of recent years belong to Jordan Peele and Ryan Coogler. At a time when black directors tackling racial issues are triumphing behind the camera, the precursor of this movement is returning. We are talking about Spike Lee, who paved the way for the aforementioned. The eccentric artist will once again join forces with his longtime collaborator Denzel Washington.

His newest work is a remake of “High and Low” of the legendary Akira Kurosawa. However, it is not a direct remake. In the original, we saw the head of a shoe company who is put in a hopeless position when his chauffeur’s son is accidentally kidnapped. Spike’s film will take the idea of the original and move from Japan to the streets of modern-day New York. It will tell the story of a music potentate who becomes the victim of a plot to extort a ransom. The main character faces a moral dilemma with life and death at stake.
The promotional material is short but fully captures the image and character of the artist behind it. It offers energetic editing, creative visual plays and a gorgeous color palette. Spike Lee, like no one else, is able to take on heavy topics and talk about them in a surprisingly light and sometimes even funny convention. However, he perfectly knows when to maintain seriousness and pay respect to the raised issues.

Fantastic Four: First Steps

The fourth attempt to bring Marvel’s first family to the silver screen.
This time, however, the license has returned to Marvel Studios and the production is being developed within the MCU. This title has no luck with screen adaptations as none of the previous ones were successful. And, after all, we are talking about the title that started the transformation of American comics into what we know today. It is considered the beginning of modern Marvel and a milestone in terms of developing the medium and addressing more mature themes within it.

Matt Shakmanem, who is behind the camera, is facing the pressure of high expectations. This is his first approach to a film of this scale. However, he certainly has a great directorial flair and skill which he has demonstrated in the production of such series as Dr. House, The Great, Succession and Monarch. He was also responsible for creating the Marvel series Wandavision, but there the studio’s policy at the time did not allow him to fully spread his wings. The case of the film, however, is more promising because, as with the successful and highly creative Thunderbolts, the studio is allowing more creativity and giving more time to make the film.

The promotional campaign indicates so far that we are finally in for a good screen adaptation of this title.
The film will take us to an alternative retro-futuristic world. In terms of design, the production has been kept in the style of 1960s science-fiction, the popularity of which in recent years has pleased me enormously. The trailers impress with retro costume designs, extensive scenery and beautifully lit shots. All with a 60s vibe thanks to the use of old Panavision cameras. But most importantly for the Fantastic Four, the trailers show a focus on our unusual family and the ordinary day-to-day problems these characters have to face in their extraordinary adventures.

Weapons

The film was originally scheduled for release in 2026, but test screenings went so well that Warner Bros decided to move production to this summer hoping for a successful run during the awards season.
The young Zach Cregger, who is climbing the Hollywood ranks with amazing speed, is responsible for the film. His previous picture, Barbarian, is a great, unconventional horror film that plays with the formula and messes with the viewer’s expectations.

Weapons takes place in a town where on one night all the children in the same class disappear. Surveillance footage shows that the children, as if hypnotized, voluntarily ran out of their homes at the same time. The frightened community of the town tries to solve the mystery of their vanishings while facing more and more disturbing unexplainable events.

The film is written in the form of a casket story. We will see how the investigation proceeds from three perspectives: the teacher of the missing class, the parent of one of the children and the police officer assigned to the case. The trailer skillfully holds the suspense by showing enigmatic overtures of disturbing, horror scenes and brilliantly introduces the story and atmosphere. These clearly draw tremendous inspiration from the prose of horror genius Stephen King. This promises an extremely engaging story that keeps us on the edge of our seat, slowly revealing the cards to the viewer.

Superman

Possibly the biggest premiere of the year. A film that is set to launch a brand new cinematic DC universe. A universe that will be a sensation in the modern cinema landscape. We’re talking about a big brand, where the emphasis will lie on the individual voice of artists and creative freedom. All thanks to the fact that the newly established studio is the first in years to be run not by a businessman but by an artist who understands how art and filmmaking work. We are talking about James Gunn. A director who has taken comic book adaptations to another level. He has shown that they can stand on a par with the most artistic creations of cinematography and talk about serious, deep topics. For example, his latest film – Guardians of the Galaxy vol.3 – was singled out by PETA as brilliantly presenting the problem of violence against animals.

And this very director is behind the camera of the upcoming Superman. A character who, despite his pop-culture iconicity, got the only really good cinematic adaptation with the first one in 1978. This film will bring the character back to his roots and remind us of the values he represents.

And this is a character we need in the culture now more than ever.
This Superman is advertised as good person in a world where good is seen as old-fashioned. The director promises that this will be the core of the upcoming story. The film is expected to touch on the contrast between the now forgotten goodness and empathy and the prevailing cynicism and wars in the world. James Gunn calls it a film about humanity and how despite our differences we are still able to bring out the best in each other. This fits well with the filmography of the director, whose films focus on giving understanding and showing and analyzing different types of emotionality.

The teaser is breathtaking and a reminder of what a cinematic experience is.
Starting with the visuals. The frames are works of art. The colors are more vibrant than ever and the lighting gives everything a special thrill. The camera work, thanks to the use of newest technology, is extremely dynamic. It moves and changes width and depth to dynamize and visually emphasize the story with each shot. Everything is enhanced by John Murphy’s music. It is inspired by Williams’ classics, but adds a guitar flair. And moving on to the substance. The cast is like taken out of the comic books. David Corenswet and Rachel Brosnahan are perfect casting for Clark/Superman and Lois. Our hearts are stolen from the first seconds by, inspired by Gunn’s experience with adopting foster dogs, the never-listening dog Krypto. Most of all, however, we see Superman standing up for the weak and saving people by offering both physical help and mental comfort. Thanks to all this, after years, Superman returns to his status of cultural symbol of hope.