We have just finished the summer blockbuster season. It began with Kosinski’s excellent, immersive spectacle in the form of F1. Alongside this, The Materialists triumphed at the box office, heralding the return of the rom-com genre to cinemas. Universal took a critical stumble with the new installment of Jurassic World, but it was certainly not a financial failure. Disney and their Fantastic Four can enjoy a warm reception. Financially, however, the film is hovering just above breaking even and is burdened by the curse of the MCU’s string of unsuccessful productions. But a tremendous success, both financially and critically, can be enjoyed by Superman. The film not only won the hearts of viewers, but also became a global phenomenon, reminding the public of the value of altruism and showing that empathy and kindness are the new punk rock in today’s complex world. This is a sensational start for the DCU, which begins with this film, and another huge success in James Gunn’s filmography. We can hope that this will guarantee tremendous momentum for the universe’s focus on the artistic values of cinema. And at the very end of the summer, Francis Lawrence is trying to get his piece of the pie with his film adaptation of King’s “The Long Walk.” Aside from that, the latest Chinese animation, Ne Zha 2, is enjoying enormous success, especially in the East.

This period also continued this year’s great run for horror films. After the phenomenal Sinners at the beginning of the year, we got a flood of great original horror films such as Bring Her Back and Together. Another big success was Danny Boyle’s return to his roots with 28 Years Later. However, the biggest winner of the summer in this genre is Zach Cregger’s Weapons. In addition to receiving rave reviews, the film attracted massive audiences to theaters, which is a huge success for a film with such a small budget.

The biggest winner this summer is Warner Bros., whose recent films such as F1, Superman, and Weapons turned out to be hits. Their latest film, P.T. Anderson’s One Battle After Another, is not enjoying such high earnings, especially considering its huge budget. However, the director’s latest work has been phenomenally well received by critics and is one of the main contenders for an Oscar, which may guarantee it a long financial run in cinemas.

So, it’s time for the third part of the article on the most interesting premieres of 2025. We’ve had a really great summer for cinema, full of great blockbusters that are “about something” and excellent smaller productions that have won the hearts of audiences. Now we’re entering the last wave of films. The colder part of the year is full of more artistic productions competing in the Oscar race. Many of them are small productions that are difficult to say anything about before their premiere, so I encourage you to visit the cinema often and look for smaller gems. Here, I will focus on the productions we already know something about.

Tron: Ares

And, obviously, we know the most about blockbusters driven by marketing campaigns. Sure, there are fewer of them in the fall than in the summer, but that doesn’t mean that big studios aren’t trying to attract crowds during this period. The first proposition of this type comes from Disney in the form of Tron, this time subtitled “Ares.”
It’s a very specific brand. The first production, by Stephen Lisberger, was a revolution in the field of special effects. We are talking about the 1982 film in which the entire space around the characters, in accordance with the plot of the film, was computer-generated. It was a time-appropriate film because it coincided with the popularization of computers and the emergence of the first games. The second part, which was the debut of the now-successful Joseph Kosinski, brought this digital world into the present day. At the same time, it was linked to the development of social media, which was shown through a computer civilization community focused on entertainment and pleasure.

In the new part, the “programs” will leave the computer and invade our world. This fits in with the current buzz around AI development, and it’s hard not to see the similarities. The main character will be played by Jared Leto as the titular Ares: a program that wants to live and is searching for something in our world that it does not fully understand. The trailers promise an invasive cinema experience, a visual spectacle full of spectacular cybernetic lighting effects. Unfortunately, the story loses some of its magic when it leaves the unusual computer realm. The director’s name also raises the most doubts here. Joachim Rønning was known more as a safe Disney workman responsible for Maleficent 2 and Pirates of the Caribbean: Dead Men Tell No Tales. However, it is possible that the director will want to prove something by giving us a more original and unique production.

Splitsville

This section will be specific because it is about a film that has just been released in theaters and which I have already seen. I am including it here because it is still available in theaters and I can definitely recommend it. Splitsville is an extremely witty, hyper-funny, and unusual romcom that plays with the form of the genre. It is a film that accurately points out many contemporary psychological trends and takes a satirical approach to attempts to control one’s emotions. At the same time, throughout the humorous side of the film, there is a lot of tenderness, understanding, and love for the characters.

The main roles are great, with the charismatic Dakota Johnson and the energetic Adria Arjona shining here. In terms of the directing, it’s a real masterpiece. Every scene here has a concept and is really creative. There are many innovative, experimental, and unusual shots, and in terms of storytelling, director Michael Angelo Covino plays with the viewer’s expectations. Even a minor scene of an argument and scuffle between two men is extraordinary comedic gold, with the arrangement of space and camera work reminiscent of the best fight scenes from John Wick. It is a wonderfully shot, original film that provides incredible entertainment and a subject for reflection.

The Smaching Machine

Another movie that’s already out in theaters when this article premieres is Benny Safdie’s newest flick. The Safdie brothers appeared on the movie scene like a revelation and wowed everyone with their sensational, dirty, and “ragged” naturalistic style. Thanks to Good Time and Uncut Gems, they have become known as the kings of controlled chaos on screen. This is the first film that the Benny has made on his own, without collaborating with his brother. It seems that the director is doing consistently well by himself, as the reception at festivals has been sensational.

It is a biographical production about mixed martial arts champion Mark Kerr, who, on the verge of fighting for the biggest trophy of his life, has to deal with a crisis in his marriage and his inner demons. The lead role causes the greatest stir among the audience. It is played by Dwayne Johnson. The actor, associated with playing the same, unremarkable roles in popcorn flicks and not always successful blockbusters, has finally decided to take a bold step towards art cinema and leave his comfort zone. Critics agree: he was a hidden acting gem. There is talk of an Oscar nomination. In addition, the actor has begun to speak more openly about himself and his uncertainty about entering the unknown, which has won him the sympathy of many. This has also opened the door to a new career path for him, with another film by Benny Safdie and collaborations with Martin Scorsese and Darren Aronofsky just around the corner.

Predator: Badlands

After the excellent Prey and the enjoyable spin-off Killer of Killers, Dan Trachtenberg continues to develop the Predator brand. After giving the series a breath of fresh air and reviving it with the first of the aforementioned films, he now decides to expand the lore with Predator: Badlands. This time, the film will take us into the future of this world and, in full sci-fi style, present us with a story set on a planet that is a dangerous wasteland.

For the first time in the series, we will follow the plot from the Predator’s perspective. The film reconnects the universe with the Alien franchise through Wayland Yutani’s androids. Together with the android Thia, played by Elle Fanning, we will accompany the protagonist in his quest to hunt down the greatest hunting target. In the meantime, we will meet various clans of other representatives of his race who are hostile towards the protagonist. Visually, the film is very unique and draws heavily on the rawness of late-century B-grade sci-fi productions and 1990s comics.

Jay Kelly

The latest production from Noah Baumbach, in which he joins forces with George Clooney, Adam Sandler, and Laura Dern. The director of Marriage Story this time presents us with a story about a fictional famous actor, Jay Kelly, who, together with his manager, embarks on a journey to discover what he really values in life. An important element of the story is also the search for his daughter. The protagonist begins to realize that his successful career has kept him from being present in her life.

Jay Kelly is billed as a moving story about an individual in the massive Hollywood machine. The story takes a satirical approach to many of the industry’s absurdities, but without mocking or going to extremes. As a result, we see how the main character learns to appreciate what he has achieved and at the same time realizes what else he can fix in his life. Additionally, the film appears to be a love letter to cinema and artistry.

The Running Man

Some of you may remember the 1987 film of the same name starring Arnold Schwarzenegger. It was the first adaptation of Stephen King’s novel of the same title, and this year we can look forward to another one. The story presents a dystopian future in which Ben Richards, in order to raise money for his daughter’s medical treatment, decides to take part in a dangerous game show where the stakes are life and death.

The new version is the work of the incredible film erudite Edgar Wright, who has been delighting us with his extraordinary and brilliant directing since the beginning of his career. The creator of such unique projects as Baby Driver and Last Night in Soho brings that to this film as well, inviting us to another colorful, energetic, and extraordinary story. The trailer promises a crazy ride bursting with colors and spotlight lights, in which creativity is surpassed only by the number of cinematic references. It is full of intense and sudden camera tricks to the rhythm of music and inventive shots, to which we have become accustomed by one of the most original contemporary creators. The lead role is played by the currently popular and charming Glen Powell, supported as always by the magnetically stoic Josh Brolin, the invariably funny Michael Cera, and the kings of screen charisma, Lee Pace and Colman Domingo. The latter plays the eccentric host of the aforementioned reality show.

Frankenstein

The latest work from the inimitable Guillermo Del Toro. The master of contemporary Gothic horror has created a film that he himself calls his magnum opus. He has done so by adapting an absolute classic of literature and the work that started science fiction—Mary Shelley’s famous book Frankenstein.

His vision, like all his previous productions, creates a breathtakingly gloomy but also beautiful world that is a kind of dark fairy tale. The promotional materials for the new work by the creator of Hellboy and Pacific Rim tempt with intricately created sets and beautiful, signature costumes. The result is an extremely distinctive atmosphere that combines Gothic fantasy with 19th-century steampunk industrial science fiction. In addition to the extraordinary visuals, we can expect from the director of The Shape of Water and Pan’s Labyrinth a deep, moving, and heart-wrenching dramatic story about people, delivered with the help of a great cast. In the role of scientist Frankenstein, we will see Oscar Isaac, for whom this may be his best role yet, and as his creation, the Monster, we will see young star Jacob Elordi. They will be supported by modern horror icon Mia Goth and two-time Oscar winner Christoph Waltz.

Wicked for Good

Another full-fledged blockbuster that will premiere at the turn of fall and winter will be the sequel to Wicked. Probably no one expected John M. Chu to translate the musical so well to the big screen in the first part. However, the production surprised everyone by proving to be a huge success, which raises high hopes for the second part. It delighted us with the beautiful fairy-tale world of the wizard of OZ, full of beautiful sets and colorful lands. Although in its form and execution it was a rather safe and conservative film. The story would not have moved us so much if it weren’t for the great acting duo in the foreground in the form of Cynthia Erivo and Ariana Grande. Casting singers in the lead roles was a jackpot and allowed for pioneering scenes in which the songs were recorded in full during the action on set.

The sequel will answer the question of whether the triumph of the first part was a coincidence or perhaps proof of the meticulous and fruitful collaboration of the creators, who poured their love for the original onto the film.

Bugonia

Bugonia is Yórgos Lánthimos’ latest project and his second collaboration with Emma Stone, following Poor Things and Kinds of Kindness. The first of these projects earned the actress an Oscar. Apart from that, the equally talented Jesse Plemons is joining forces with the director once again.

Their joint work this year is a satirical, inverted variation on the home invasion genre, which pokes fun at conspiracy theorists. The story is about two young men who kidnap a corporate boss, convinced that she is an alien sent to destroy the earth. The director once again uses his unique and eccentric style to tackle another unusual topic through black comedy combined with elements of thriller.

Wake Up Dead Man

The third installment in Rian Johnson’s whodunnit series. The director delighted us with a breath of fresh air in the brilliant, witty, and skillfully deceptive script of Knives Out, offering one of the best premieres in recent years. The film offered an innovative crime story heavily inspired by Agatha Christie, led by the eccentric detective Benoit Blanc, bravuraly played by Daniel Craig. The filmmaker then continued Blanc’s adventures in Glass Onion, which moved the plot from an autumn residence to a holiday resort.

Now Johnson will take us into darker territory with a gothic monastery perpetually shrouded in fog and shadow. Here, the main character will face the greatest mystery of his career: the death of a priest, whose unexplainability resembles a miracle. The detective will try, in his characteristically engaging way, to uncover the truth and prove that there are no magical forces behind the mystery. Rian Johnson offers us another breath of fresh air here by changing the visual language to a more gloomy, mystical and light-based one, and by borrowing techniques from classic horror films. Reviews from film festivals clearly state that this is not only the best part of the series, but also the pinnacle of the genre.

Avatar: Fire and Ash

And we will end the year with the biggest blockbuster possible, the next installment of Avatar, directed by the legendary James Cameron. This cinematic spectacle will once again take us to the planet Pandora and its blue-skinned inhabitants. This time, the Sully family will have to face a hostile tribe of fire. At the same time, our heroes must continue to flee from the Earth military forces led by Colonel Quaritch.

Avatar is a unique series. It is certainly the pinnacle of technological cinema and a monumental spectacle, whose scale and breathtaking visuals cannot be denied. Personally, however, I have never been able to engage with the world presented because of its shallow, predictable story and simple, clichéd characters. Unfortunately, the protagonists are shaped by the sensibilities of a director raised in a different era, and their behavior and approach to emotions are now more repulsive than appealing. However, this does not change the fact that Cameron’s contribution to the blockbuster legacy is enormous, and we are certainly in for a competently executed film. In December, we will see if the director has managed to add something more to this story and push it into more interesting territory.

Die, My Love

This title is another work by Lynne Ramsey, the extraordinary director responsible for the brilliant contemporary neo-noir You Were Never Really Here. Her newest film will deal with the psychological and emotional struggles of postpartum depression. The story follows Grace, who, shortly after giving birth, faces unexplainable fears and loneliness. At the same time, she is unable to find support in her husband, Jackson. The protagonist feels as if she is sinking deeper and deeper into madness in the everyday, ordinary life of a young mother.

This film is a veritable volcano of acting talent, with Jennifer Lawrence and Robert Pattinson in the roles of the central couple. The promotional materials are stunning in their artistry. The trailer is mesmerizing and provides an extraordinary experience that begins like a romantic comedy but gradually turns into something resembling an extremely disturbing horror film.

We Bury the Dead

The next film is one that intrigued me in an unusual way after seeing the trailer. Teaser is surprising, well edited and intricately revealing the plot step by step. It made a huge impression on me. I will post it here, so that you can watch it before reading the rest.

We Bury the Dead is a new, extremely atmospheric artistic horror film by Zak Hilditch. The first thing that impresses about the trailer is its cold color palette, punctuated every now and then by a strong red. This guarantees a unique, harsh atmosphere of anxiety, through which the distinctiveness of the lurking danger shines through. The film follows the protagonist, played by Daisy Ridley, who decides to enter the quarantine zone in search of her missing husband. Along the way, we see through her eyes various forms of social unrest and behavior in the face of the unknown danger warned about by the military. The protagonist discovers that the epidemic does not affect the living, but the dead. The result is an intriguing, festival-acclaimed horror film, that meticulously builds tension, with a central theme about zombie.