Denzel Washington stars in Spike Lee’s “Highest 2 Lowest.”
Sometimes it’s easy to think that 90 percent of movies are mediocre, at best. And, apparently, film journalists tend to agree.
Over 300 of 2025’s movies met the criteria — most commonly, a theatrical release in a major market — to be considered for various organizations’ end-of-year awards. The New York Film Critics Circle, The Los Angeles Film Critics Association and The National Board of Review have already announced their prize winners; The Golden Globes has published their list of nominations.
Most moviemakers went home disappointed.
Of the more than 300 eligible films, only about 30 ended up on anyone’s honor roll. And of those, just half were named in more than one category, with the remainder often being praised for a single, standout performance. (For the record, widely lauded films with multiple nominations included “One Battle After Another,” “The Secret Agent,” “Sinners,” “Marty Supreme,” “Frankenstein,” “Hamnet,” “Sentimental Value” and “Bugonia.”)
It was a pretty brutal winnowing, and for some major films still hoping to be part of the awards-season conversation — “Nuremberg,” “Ella McCay,” “Is This Thing On?” — a painful setback.
Audiences can certainly take these groups’ suggestions to heart when looking for something to watch; readers, I hope, will dig into my own Top 10 list later this month. But that shouldn’t end the search for quality cinema, either for Academy members (who have until Jan. 16 to submit Oscar votes) or for film buffs. There are plenty of movies that may not make anyone’s best-of list, including mine, but still provide film lovers with some great entertainment — and Oscar voters with some dark-horse choices.
Here are 10 films that, while underappreciated, shouldn’t be overlooked. They are in alphabetical order.
Liz Larsen and Michael Strassner in “The Baltimorons.”
“The Baltimorons.” Director Jay Duplass was a leader in cinema’s “mumblecore” movement, and this comedy is also determinedly lo-fi: no stars, no special effects, no big “moments.” Which allows it to focus instead on actors Michael Strassner and Liz Larsen, and a genuinely sweet, quietly winning story of two sad-sack strangers unexpectedly finding love during an otherwise personally lousy Christmas. Streaming.
“Don’t Let’s Go to the Dogs Tonight.” In a year of movies about women on the edge – “If I Had Legs I’d Kick You,” “Die My Love” — this film got the least attention, perhaps because its protagonist is often drunk, and clinging to her white privilege in a rapidly changing Rhodesia. Too bad, because star/director Embeth Davidtz is wonderful, as is little Lexi Venter as her indomitable daughter — the story’s true heroine. Streaming.
“Eleanor the Great.” Scarlett Johansson’s directorial debut is sometimes uncertain in its mix of comedy and drama, while its subject matter — a lonely woman lying about being a Holocaust survivor — may strike many as in poor taste. But stick around. The resolution is clear-eyed, respectful and forgiving, and as its nonagenarian lead, June Squibb is, as usual, nothing less than a feisty treasure. Streaming.
Kathleen Chalfant in “Familiar Touch.”
“Familiar Touch.” It’s a primary, existential terror — not the loss of life, or even health, but of self. Sarah Friedland’s drama takes on that story without flinching, as veteran Kathleen Chalfant — in a superb performance — plays an octogenarian moving into assisted living and, she begins to fear, slipping into oblivion. Beautifully and honestly made, with an ending that — to its credit — refuses to compromise. Streaming.
“Friendship.” TV’s Tim Robinson specializes in cringe humor, happily delving deep into uncomfortable conversations and awkward oh-no-he-didn’t situations. Here, in Andrew DeYoung’s film, he expands that social embarrassment to feature length, as a schlump with a man crush on new neighbor Paul Rudd. Imagine bro comedies like “Role Models” or “I Love You, Man.” Now turn them very, very dark. Streaming.
“Good Boy.” I love a good ghost story, particularly one that features a dog who suddenly senses something evil in an old house. So how could I not love a ghost story told from the dog’s point of view? At times, Ben Leonberg’s micro-budgeted film looks like a home movie, but even when the storytelling gets hazy, its sheer audacity is thrilling. Plus a huge pat on the head to its star, Indy, as himself. Streaming.
“Highest 2 Lowest.” The good news is, there are movies for grownups out there; the bad news is, they rarely seem to get a decent release. Because if this Spike Lee film had gotten a longer run in theaters, I can’t believe audiences wouldn’t have responded to Denzel Washington as a slick music mogul dealing with kidnappers, or its taut centerpiece scene featuring a “French Connection”-style subway pursuit. Streaming.
Benicio del Toro in “The Phoenician Scheme.”
“The Phoenician Scheme.” Wes Anderson is often castigated for the same things that win other directors praise: Personal obsessions, a loyal stock company, a unique style. So haters will have little use for this typical, frequently whimsical, occasionally odd fable with Benicio del Toro as the alternately ruthless mogul and regretful patriarch at its black heart. Hardcore Anderson fans will, of course, be delighted. Streaming.
“Rental Family.” Fish-out-of-water stories are always popular, as are ones about grouches humanized by their growing fondness for a child. So why hasn’t this heart-warming film by Japanese director Hikari connected with more audiences yet? I’m not sure, but the always amiable Brendan Fraser is charming as an expatriate American actor, and its locations and situations are fresh and engaging. In theaters.
“Tatami.” An Iranian woman, in the midst of an international judo competition, gets an order from her government: Fake an injury and withdraw, now, to avoid facing an Israeli competitor. It makes for strong drama, while the film’s very production makes its own point about tolerance: In a first, it is co-directed by an Israeli, Guy Nattiv, and an Iranian exile, Zar Amir Ebrahimi (who also co-stars). Streaming.
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