We may already be a few months into 2025, but Flip Screen editor-in-chief Hayley Paskevich is here to share a list of some highlights from the previous year in film! Read on to find out what her top picks were, and be sure to check out staff writer Rebecca Rosén‘s list as well…

Abigail (dir. Matt Bettinelli-Olpin and Tyler Gillett)

While audiences may go into Abigail thinking they know what to expect thanks to the film’s marketing, which heavily focuses on its titular ballerina vampire, the Dracula’s Daughter-inspired flick still manages to be full of surprises. Bettinelli-Olpin and Gillett—the directing duo known as Radio Silence, best known for helming 2019’s Ready or Not and the recent Scream films—bring Guy Busick’s audacious script to life, which follows a team of criminals who attempt to pull off their most dangerous heist yet. However, soon after they are tasked with looking after young Abigail (Alisha Weir), things take a much darker turn, as the realization of her true nature dawns on the group with horror. Surprisingly fun but undoubtedly freaky, the film also boasts a strong ensemble cast— along with Weir, Melissa Barrera, Dan Stevens, Kathryn Newton, and Kevin Durand are all standouts. Abigail is a bloody blast that further cements not only Radio Silence’s status as icons within the genre, but Barrera and Newton as some of the most promising scream queens this generation has to offer.

A Quiet Place: Day One (dir. Michael Sarnoski)

The latest entry in the world of A Quiet Place sees original star and director John Krasinski step aside, letting Sarnoski take the reins and bring audiences back to the beginning. Day One may not have as many scares as the first two Quiet Place films, which saw its characters fight for survival against the fearsome Death Angels— terrifying alien creatures whose attack is triggered by even the smallest of sounds. However, Sarnoski’s prequel is certainly full of heart, which more than makes up for its lack of terror. Set in New York City in the moments before the world gets plunged into sudden silence, cancer-stricken Sam (Lupita Nyong’o) and English tourist Eric (Joseph Quinn) form an unexpected connection as they try to stay alive amidst their harrowing new reality. Nyong’o and Quinn have a captivating chemistry on-screen that makes their characters’ bond fully believable as these two isolated people find comfort in one another, and along with Sam’s adorable cat Frodo, they carry the film. A worthwhile entry in the franchise, Day One doesn’t add as much to the lore as audiences hoped, but it is still a genuinely affecting story of human connection that will leave viewers feeling moved.

Blink Twice (dir. Zoë Kravitz)

Coming in the wake of the #MeToo movement, Blink Twice is a gripping psychological thriller that serves as a strong directorial debut for Kravitz. The film follows Frida (Naomi Ackie), a waitress who finds herself invited to a mysterious remote retreat hosted by wealthy tech mogul Slater King (Channing Tatum). While all seems idyllic at first, she soon discovers that something sinister is happening on the island, with unexplained gaps in memories and women disappearing. Even though there are several disturbing scenes, many of the more graphic events are thankfully alluded to rather than shown on-screen, and the film’s unsettling tone is offset by an undercurrent of humour. Adria Arjona in particular has many scene-stealing moments as Sarah, another woman at the retreat who Frida teams up with. Ackie delivers a dynamic performance as the film’s lead, while Tatum is chilling as the very embodiment of white male privilege. A darkly satirical social commentary, Blink Twice is a movie that audiences might find uncomfortable to watch at times, but it’s even harder to look away from.

Drive-Away Dolls (dir. Ethan Coen)

The first film in Coen’s planned trilogy of what the director has called “lesbian B movies”, Drive-Away Dolls is an entertaining comedy about two friends on a road trip. Jamie (Margaret Qualley), a rebellious young woman with a Southern drawl and straight-laced Marian (Geraldine Viswanathan), hit the road together in a rental car, ready to leave their small-town lives behind and drive to Florida. But when the two friends discover a surprising item in the boot, they find themselves mixed up in a high-stakes criminal caper with the perpetrators in hot pursuit of their vehicle. This leads to many entertaining scenarios as the women attempt to evade the law, their run-ins with determined policewoman Sukie (Beanie Feldstein) being a highlight. With a runtime of just under 90 minutes, Drive-Away Dolls is a wild ride that leans into its outlandish premise, fully embracing the queerness and camp through the genre it intends to pay homage to.

Inside Out 2 (dir. Kelsey Mann)

2015’s animated blockbuster Inside Out was a smash hit for Disney that gave audiences of all ages a new way to talk about their emotions, so the news of a second film was understandably met with both trepidation and excitement. Thankfully, Inside Out 2 not only reaches the bar the original set but arguably surpasses it, while still maintaining its clever humour and earnest relatability. The original voices behind Joy (Amy Poehler), Anger (Lewis Black), and Sadness (Phyllis Smith) all return to the control panel of Riley’s (Kensington Tallman) mind for the Pixar sequel, with new voices for Fear and Disgust (Tony Hale and Liza Lapira). There’s also some memorable additions to the cast of characters with the arrival of new emotions as Riley now enters her teenage years, navigating the peer pressure, unspoken social rules, and internal conflict that come along with this transition. The real standout here is Maya Hawke, who gives voice to an emotion that many have surely experienced— Anxiety. Her orange, Muppet-like character’s frenetic animation coupled with Hawke’s high-energy vocal performance creates effective tension throughout, building to an emotionally cathartic climax that’s sure to become a core memory for viewers.

I Saw The TV Glow (dir. Jane Schoenbrun)

There’s a reason that the latest offering from queer indie filmmaker Schoenbrun, who first gained attention for their 2020 debut feature We’re All Going to the World’s Fair, is undeniably one of last year’s cinematic highlights. (Flip Screen staff writer Stephen Cosgrove also sang its praises in his review!) Wildly inventive and surreal, I Saw the TV Glow explores the exhilarating rush that comes with finding a shared sense of identification through friendship and fandom. When teenagers Owen (Justice Smith) and Maddy (Jack Haven) bond over fictional fantasy television series The Pink Opaque, they see themselves reflected through its on-screen protagonists. But as the lines between the show and reality disturbingly blur together, Owen finds the very essence of who he is called into question, as Maddy’s desperate plea forces him to decide whether his friend is delusional or if he is in fact living in denial of his true self. The performances from both leads are phenomenal and there is something of a nostalgic aspect to the film, which is awash in vibrant colour. It also has a memorable soundtrack, at even featuring a musical cameo from alternative superstar Phoebe Bridgers. And in its final moments, I Saw the TV Glow leaves audiences with a phrase that’s become its most frequently quoted, one which somehow feels both sobering and affirming: “there is still time.”

The Wild Robot (dir. Chris Sanders)

Dreamworks brought a heartwarming children’s book to life with their film adaptation of Peter Brown’s The Wild Robot, which found its way into audiences’ hearts when it hit cinema screens last autumn. The touching sci-fi tale follows Roz (Lupita Nyong’o), a robot initially built for the purpose-driven mission of performing tasks at maximum efficiency who finds herself unexpectedly stranded in the wilderness. As she learns to adapt to her surroundings, the resourceful Roz forms a maternal bond with young duckling Brightbill (Kit Connor), taking him under her proverbial wing—or rather, extendable arm. Stacked with an impressive celebrity cast—Pedro Pascal, Mark Hamill, Bill Nighy, and Catherine O’Hara, to name a few—and boasting gorgeous visuals as well as powerful messages, the film is a triumph for the animation studio. Roz is one of the most sympathetic robots in recent memory, joining the likes of Wall-E and The Iron Giant in this respect, and viewers are sure to find themselves rooting for her and her woodland friends.

We Live in Time (dir. John Crowley)

Told in a non-linear fashion, this emotional romantic British dramedy charts the moments in time shared by aspiring chef Almut (Florence Pugh) and Weetabix salesman Tobias (Andrew Garfield) in the years as their love story unfolds. From the car accident that first brings the pair together to the major life events they experience—and the subsequent arguments, tears, and celebrations along the way—the couple’s relationship feels organic throughout its highs and lows. Much of this can be credited to the simplicity of Nick Payne’s script as well as the undeniable chemistry between Pugh and Garfield, whose palpable on-screen attraction lends itself to a fully believable portrayal of two people in love. While the film has its share of heavier moments, especially where Almut’s ailing health is concerned, there is also a much-needed dose of levity that ultimately makes it feel more uplifting than depressing. We Live in Time is likely to leave viewers with tears in their eyes but avoids becoming a needlessly weepy melodrama, beautifully rejoicing in the idea that life is meant to be lived to the fullest up until its end.

Wicked Little Letters (dir. Thea Sharrock)

Who knew that a real-life English scandal would be the inspiration for one of last year’s most riotous films? Based on the infamous ‘Littlehampton libel’ case of 1920, Wicked Little Letters is a darkly funny period crime comedy with a vulgar slant, as it sees religious spinster Edith (Olivia Colman) start to receive crude letters from an anonymous sender— and she’s far from the only one in town. But while Edith is quick to pin the blame on Rose (Jessie Buckley), a debaucherous young mother with a penchant for profanity, it soon becomes clear that the case isn’t exactly as open-and-shut as it first seems. As policewoman Officer Gladys (Anjana Vasan) doggedly pursues the true identity of Littlehampton’s poison pen, raucous comedy ensues, with the town determined to bring the true perpetrator to justice. The trailer made it appear that Colman and Buckley shouting expletives back and forth would be the film’s main source of humour, and there certainly is no shortage of those. These two actresses make enjoyable foils to one another, with Vasan’s performance also a highlight, as screenwriter Jonny Sweet delivers a script that is witty and sharp beyond its shock value.

Your Monster (dir. Caroline Lindy)

A film that has found a resurgence of love after it landed on streamer HBO Max earlier this year, Lindy’s semi-autobiographical Your Monster follows Laura (Melissa Barrera), an aspiring theatre actress forced to confront her suppressed inner rage in a very literal sense. Not long after her life has hit rock bottom, Laura gets massively freaked out when she meets Monster (Tommy Dewey), a creature who lives in the closet of her childhood home. At first wanting nothing to do with him, Laura soon comes to embrace Monster, and his encouragement to express her anger leads to her discovering a newfound assertiveness. The film mostly stays in the romantic comedy lane while tipping its hat to horror and musicals, with original musical numbers that wouldn’t feel out of place on Broadway— especially Barrera’s memorable belter “My Stranger”. This endearing mishmash of genres makes Your Monster an unexpected crowdpleaser, and with Flip Screen editor-in-chief Hayley Paskevich giving it a glowing review last year, it’s hardly a surprise that it rounds out her top 10 list.