Fantastic Fest 2025 has come and gone, and it was yet another year for the record books. Year after year, this festival proves to be one of the happiest places on earth—essentially Disneyland for film lovers. It’s more than just a festival; it’s a community, and that magic comes in large part thanks to its fearless leader, Lisa Dryer, who continues to make Fantastic Fest a welcoming, inclusive space for everyone. It’s a place where people can let loose, be their truest selves, and celebrate a shared love of cinema.
A big shoutout also goes to Fons PR, the engine that keeps the press side running smoothly. Thanks to them, I’ve had the privilege of speaking with some of the incredible talent that returns to Fantastic Fest year after year. While I haven’t had the chance to do a red carpet there yet—fingers crossed for year four—I did sit down for some amazing conversations this year. Highlights included chatting with Mark Duplass and Patrick Brice about Creep Tapes: Season 2, and catching up with Lil Rel Howery about his new film Haunted Heist.
Beyond interviews, this year brought new friendships, unforgettable encounters, and, of course, a slate of phenomenal films. I managed to watch 21 titles, but I’ve narrowed things down to my top 10 favorites. These are the films that stood out the most and, in my opinion, deserve a spot on your watchlist.
So without further ado—here are the 10 movies from Fantastic Fest 2025 you need to keep an eye on.
If I Had Legs Id Kick You
Starting off with my favorite film of Fantastic Fest, I have to talk about If I Had Legs I’d Kick You. This film hit me harder than anything I’ve seen in years, leaving me emotionally drained, shaken, and in awe of its sheer intensity.
At its core, the story follows Linda (a phenomenal Rose Byrne), a mother trying desperately to keep her world together as it crumbles around her. Her daughter is battling a mysterious illness, her husband is nowhere to be found, a local missing-person case begins to close in on her, and her sessions with her therapist—played with unexpected edge and nuance by Conan O’Brien—become increasingly hostile and unnerving. What unravels is a portrait of motherhood under siege, of a woman stretched to her breaking point while still trying to love, protect, and endure.
The only way I can describe the experience of watching this movie is that it’s the Uncut Gems of motherhood. I’ve seen thousands of films in my lifetime, but very few have ever put me through the wringer like this one did. I’ve never experienced a panic attack before, but by the end of this film, I was trembling in my seat, heart pounding, lungs tight—like someone was sitting on my chest for the entire 1 hour and 53 minutes. When the credits rolled, I walked out in tears, completely wrecked.
Rose Byrne delivers a career-best performance—raw, vulnerable, and absolutely fearless. She makes you feel the crushing weight of motherhood in every gesture, every glance, every desperate plea. Even though I’m not a parent myself, I felt every ounce of her anguish, her love, and her exhaustion. Director Mary Bronstein masterfully captures that relentless emotional spiral, pairing it with a haunting, unyielding score that never lets you catch your breath. The result is a film that doesn’t just tell a story—it forces you to live inside it.
Conan O’Brien is terrific here, balancing his familiar wit with an undercurrent of menace that keeps you on edge, but the biggest surprise came from A$AP Rocky. He proves he has serious acting chops, delivering moments of comic relief that feel organic without ever undermining the film’s tension. He’s magnetic every time he’s on screen, a true standout in an already stellar ensemble.
If I Had Legs I’d Kick You is the kind of film that grabs you by the throat and doesn’t let go. It’s exhausting, devastating, and unforgettable. For me, it wasn’t just the best film of Fantastic Fest—it’s one of the best films of the year.
Good Luck Have Fun Don’t Die
Secret Screening #4 of Fantastic Fest turned out to be my second favorite film of the entire festival, and honestly one of the most surprising. From the opening scene, I had a grin plastered across my face that never left. The film, GOOD LUCK HAVE FUN DON’T DIE, is one of those rare festival gems that feels like it was made to be discovered with an audience—a wild, zany, and hilariously sharp ride that still manages to hit with genuine emotional weight.
The premise is immediately gripping: a man claiming to be from the future storms into a Los Angeles diner, taking hostages in a desperate attempt to recruit an unlikely group of heroes to help him save the world. What follows is part sci-fi romp, part satire, and part raw commentary on the anxieties of our present day. Imagine Gore Verbinski directing a Terminator movie but with a wickedly satirical edge, poking fun at how we escape into technology rather than confronting the uncomfortable realities around us. That’s the energy this film radiates—darkly funny, self-aware, and biting without ever feeling mean-spirited.
The cast is stacked with talent, and everyone gets their moment to shine. Sam Rockwell, Juno Temple, Haley Lu Richardson, Zazie Beetz, and Michael Peña lead the charge, each bringing nuance, humanity, and humor to their roles. What makes their performances so effective is that despite the heightened premise, you care deeply for these characters. Their quirks, fears, and flaws feel real, grounding the chaos in an emotional core that sneaks up on you.
What impressed me most was how the film fearlessly tackles issues most blockbusters would never dare touch—topics like mass violence and school shootings—yet does so in a way that feels accessible, relatable, and even oddly hopeful. It balances satire and sincerity with razor-sharp precision, never trivializing the subject matter, but also refusing to wallow in despair. Instead, it finds a way to confront these cultural fractures through absurdist humor and human connection.
That delicate balancing act is a testament to Matthew Robinson’s impeccable script, which weaves together high-concept sci-fi with emotional truths and laugh-out-loud comedy. And with Gore Verbinski at the helm, the film becomes something truly special. His direction blends the fantastical and the intimate in a way that feels both massive in scope and deeply personal. It’s inventive, visually thrilling, and filled with the kind of bold, gonzo energy that makes Fantastic Fest audiences erupt with joy.
GOOD LUCK HAVE FUN DON’T DIE is more than just a quirky sci-fi comedy—it’s a clever, heartfelt warning about where we’re headed if we don’t face our present head-on. It’s rare to find a movie that can make you laugh, think, and feel all in equal measure, but this one nails it. Walking out of the theater, I knew I had just witnessed something that will stick with me for a long time.
One Battle After Another
Secret screening number three was an experience I was completely unprepared for. Seeing One Battle After Another in 70mm with the Fantastic Fest crowd was absolutely unforgettable. It might just be one of my favorite Paul Thomas Anderson films to date. Bold, unflinching, and brimming with energy, it feels like the work of a filmmaker simultaneously reflecting on the present moment and pushing himself into exciting new creative territory.
At its center is Bob (Leonardo DiCaprio), a washed-up revolutionary who has long since traded the fire of youthful rebellion for a haze of stoned paranoia. Living off the grid with his sharp, spirited, and fiercely independent daughter Willa (newcomer Chase Infiniti), Bob is a man haunted by the weight of past battles he never truly won. When his old nemesis, the ruthless Col. Steven J. Lockjaw (Sean Penn), suddenly resurfaces and Willa mysteriously vanishes, Bob is thrown back into a world he thought he left behind. The search for his daughter becomes both a pulse-pounding odyssey and a reckoning with the choices that defined him.
What unfolds is a story about more than just survival—it’s about fatherhood, legacy, and the impossible task of trying to build a better world for the people you love. Anderson balances those heavy themes with a surprising amount of humor, surreal flourishes, and a propulsive sense of danger that keeps the film constantly exhilarating.
The cast is uniformly excellent, but Sean Penn gives one of the most electrifying villain performances in recent memory. His Colonel Lockjaw is menacing, unpredictable, and almost gleefully cruel—easily his best work in years, and one that belongs in the same breath as Christoph Waltz’s Hans Landa in Inglourious Basterds. Chase Infiniti, in her debut role, is a revelation—bringing strength, vulnerability, and a raw emotional depth to Willa that makes her impossible to look away from. Teyana Taylor is equally magnetic as the fierce and uncompromising Perfidia Beverly Hills, commanding the screen every moment she appears.
And then there’s Benicio Del Toro, whose presence is nothing short of scene-stealing. He injects the film with an unpredictable energy that perfectly complements Anderson’s world—a blend of menace, humor, and pathos that lingers long after the credits roll.
One Battle After Another is funny, dark, timely, and surprisingly moving. It’s a reminder that Anderson remains one of the most daring voices in cinema, unafraid to mix politics, pulp, and deeply human storytelling into one unforgettable experience.
The Black Phone 2
When The Black Phone 2 was announced, I was instantly hooked. The idea of Ethan Hawke returning as a sadistic serial killer felt like a cinematic event I couldn’t afford to miss. I enjoyed the first film—it was eerie, well-crafted, and had its moments—but it didn’t quite hit me with the force I had hoped. Still, the mythology of the Grabber and the raw tension of those creepy phone calls lingered in my mind. So when news of a sequel surfaced, and the story details began to emerge, my excitement skyrocketed.
This follow-up plunges us into the chilling aftermath of the first film, exploring how Finney and Gwen attempt to navigate not just survival, but trauma, faith, and the lingering shadow of their past horrors. What immediately stood out is that The Black Phone 2 doesn’t simply recycle terror—it expands it. The Grabber is far from finished with the Shaw siblings, evolving into something even more sinister, skirting the edge of Freddy Krueger–level menace.
Seventeen now, Finney struggles to piece together a normal life while the scars of captivity weigh heavily on him. Meanwhile, Gwen begins experiencing terrifying dreams and mysterious calls through the black phone itself—visions that point toward a horrifying new chapter. Her dreams introduce us to three boys being stalked at Alpine Lake, a snow-covered camp that feels ripped straight from a nightmare. The imagery alone sends shivers down your spine and sets the stage for a ride that’s as emotionally harrowing as it is frightening.
Simply put, The Black Phone 2 shattered every expectation I had. It’s like Sinister collided headfirst with A Nightmare on Elm Street, creating a relentless cocktail of dread and surreal horror. The cinematography on Super 8 cam is nothing short of brilliant—grainy, haunting, and immersive, making every dream sequence feel viscerally terrifying. The Grabber cements himself as the new face of Blumhouse horror, a figure as iconically horrifying as anything the studio has unleashed.
Ethan Hawke is magnetic in his menace, but the film soars on the strength of its younger cast. Mason Thames brings raw, wounded depth to Finney, but it’s Madeleine McGraw as Gwen who steals the show. Her arc is powerful, heartbreaking, and by the end, she had me in tears. The rest of the cast is far from sidelined—Anna Lore shines as their mother, and Miguel Mora returns as Ernesto, providing humor, warmth, and a grounding presence amidst the darkness. His chemistry with Finney and Gwen adds moments to root for in an otherwise terrifying journey.
Director Scott Derrickson delivers a film that doesn’t lean on nostalgia or the goodwill of its predecessor. Instead, it builds something bolder, scarier, and far more unsettling. It’s terrifying, thrilling, and unrelenting from start to finish. And as absurd as it sounds, watching Ethan Hawke bring pure evil energy while on ice skates is a moment I never knew I needed.
The Black Phone 2 isn’t just a worthy sequel—it’s a modern horror milestone. I loved every second, and all I can say now is: give me more Grabber.
Primate
If you know me, you know that in the world of horror, the only thing I love more than slashers are creature features—and Primate delivered exactly what I crave. The opening night film of the festival, all I knew going in was that it featured a killer chimpanzee. Add to that the fact that the director, Johannes Roberts, previously gave us tense thrillers like 47 Meters Down and The Strangers: Prey at Night, and I knew I was in for a ride—but I had no idea just how good it would be.
The story follows Lucy (Johnny Sequoyah), home from college and reunited with her family—including their pet chimp, Ben. But things quickly spiral out of control when Ben contracts rabies during a pool party, transforming from adorable to absolutely lethal. Lucy and her friends are forced to barricade themselves in the pool area, desperately devising ways to survive the increasingly vicious primate. What unfolds is a relentless, edge-of-your-seat creature feature that is every bit as intense, bloody, and brutal as the premise promises. If you’ve ever wondered why keeping a monkey as a pet is a terrible idea, Primate will leave you in no doubt.
One of the highlights of the film is its practical effects. The violence is visceral—limbs tear, bodies fly, and there is no shortage of shocking, jaw-dropping moments that will make you wince, squirm, and maybe even cover your eyes. Roberts clearly returns with a bloody vengeance here, crafting carnage that never lets up. Johnny Sequoyah is phenomenal, holding her own against a literal killer chimp and proving she may very well be the scream queen of the near future. Troy Kotsur, as Lucy’s father, is as fantastic as ever, providing heart and grounding the story. His relationship with Ben, including using sign language to communicate, adds a layer of depth that makes the chaos even more compelling.
The film is a nonstop thrill ride from start to finish. The kills are savage, inventive, and—at least in my screening—had the theater erupting in applause at one particular sequence. Primate is exactly the kind of movie that reminds us January releases don’t have to be forgettable throwaways—this is a must-see horror event that commands your attention. If you’re a fan of creature features done right, this one is not to be missed. Grab your popcorn, brace yourself, and prepare for a wild, bloody, unforgettable ride.
The Piano Accident
The biggest surprise of Fantastic Fest for me was The Piano Accident. I walked in knowing almost nothing about it—and I’m so glad I did, because stumbling upon this gem felt like discovering a secret the festival was saving just for me. Director Quentin Dupieux, known for his delightfully absurd films like Rubber—yes, the one about a killer tire—might have outdone himself this time. The Piano Accident could very well be his most accomplished, funniest, and strangely poignant work yet.
The film follows Magalie Moreau (Adèle Exarchopoulos), a social media star notorious for posting shocking, attention-grabbing content. After a mysterious “piano accident” derails one of her video shoots, she decides to take a break in an isolated mountain chalet. What begins as a quiet retreat quickly spirals out of control when a persistent journalist shows up—and starts blackmailing her. That’s essentially all you need to know, because the rest is a wild, unpredictable ride best experienced firsthand.
At its core, The Piano Accident is a darkly comic meditation on our obsession with relevance and the absurd lengths we go to in search of happiness, purpose, or even just fleeting attention. Adèle Exarchopoulos is phenomenal as Magalie: witty, sharp, and endlessly entertaining. Watching her scramble to maintain her online fame while navigating this bizarre, escalating nightmare had me laughing out loud more than once. Normally, Dupieux’s dry humor doesn’t always land for me—but in this case, the film’s outrageous, almost Jackass-inspired energy worked perfectly.
The Piano Accident hits video-on-demand in November, and it’s a film I think everyone should give a chance. It’s absurd, clever, and surprisingly human—a quirky reflection on fame, social media, and the chaos that follows when life literally plays its own tune.
Silent Night Deadly Night
The first secret screening at Fantastic Fest was the Christmas slasher I didn’t know I desperately needed. I still haven’t seen the original Silent Night, Deadly Night, but after experiencing this reboot, it has officially jumped to the top of my must-watch list. From everything I’d heard, this new take veers far from the original—but honestly, that didn’t matter at all. This film shattered every expectation I had, delivering a wild, unrelenting thrill ride. I laughed, I gasped, I cheered—and I can already see myself revisiting it every year as a centerpiece of my Christmas horror marathon.
The story opens with a truly chilling premise: a child witnesses his parents’ murder at the hands of a man dressed as Santa. Fast forward to adulthood, and that same child has donned a Santa suit himself, embarking on a brutally satisfying crusade against anyone deemed “bad. Imagine Venom if it were a serial killer dressed as Santa—bloody, outrageous, and impossibly fun. The concept alone is enough to make you grin, but the execution is next-level.
Rohan Campbell delivers a powerhouse performance as the lead, perfectly walking the line between menace and dark charisma. Ruby Modine is an absolute scene-stealer, injecting each moment with a sharp wit and unpredictable energy that counterbalances Campbell’s intensity. Together, they elevate the material beyond its gore-filled premise, giving the story both personality and bite. And if you think this is all carnage and chaos, think again—there’s a twisted Christmas romance woven in that adds unexpected heart, humor, and a delightful layer of chaos to the proceedings.
But let’s be real: the real magic is the pure, unfiltered joy the film delivers. There’s a guaranteed crowd-pleaser moment that had the entire theater erupting in thunderous applause, and from start to finish, it’s a nonstop rollercoaster of laughs, shocks, and holiday horror delights. The kills are inventive, the pacing is relentless, and the holiday aesthetic—blood-streaked tinsel, glittering gore, and grotesquely festive imagery—is simply unforgettable.
Writer/director Mike P. Nelson has officially delivered a new classic for the genre. This isn’t just a reboot—it’s a reinvention: a love letter to horror fans with a wicked sense of humor and a taste for holiday mayhem. Trust me, this is the Christmas slasher that will haunt your dreams in the best way possible, and you’ll want it on repeat every December for years to come. My only quibble is that I wish it had leaned a little harder into the brutality—but if fans show up this December, maybe a potential sequel will push those limits even further.
Appofeniacs
One of the films that quickly became the talk of the festival was Appofeniacs, with some critics even comparing it to the work of Quentin Tarantino. Chris Marrs Piliero, who first made a name for himself directing music videos, makes a spectacular feature-length debut here—and what a debut it is. This isn’t just a strong start; it’s a bold announcement of a filmmaker with a seriously promising career ahead.
Appofeniacs is an anthology of chaos and dark humor, a twisted exploration of how AI technology can spiral into terrifying and bloody consequences. The narrative kicks off with a series of deepfake videos that wreak havoc on everyone involved, delivering catastrophic—and often hilariously grotesque—results. In an era where AI and deepfakes are increasingly ubiquitous, the film does more than entertain; it also serves as a cautionary tale about the perils that can lie behind a single click.
The comparisons to Tarantino are easy to see—and well-earned. Each character feels pulled straight from a Pulp Fiction-style universe: eccentric, layered, and unforgettable. Piliero ensures that every story and character evokes a strong reaction, whether it’s laughter, outrage, or disbelief. Some scenes are pure, unhinged chaos—one standout involves a man on PCP spiraling completely out of control. It’s simultaneously hilarious, disgusting, and cringe-inducing, a perfect example of the film’s uncanny ability to balance multiple emotional tones in one unforgettable moment.
What truly elevates Appofeniacs beyond its clever premise is its outstanding ensemble cast. Every actor shines, from heavy hitters like Sean Gunn, Jermaine Fowler, Michael Abbott Jr., Aaron Holiday, Simran Jehani, Will Brant, Massi Pregoni, Amogh Kapoor, Paige Searcy, and Harley Bronwyn. Simran Jehani stands out as a quirky, anime-inspired gamer whose seductive unpredictability adds a playful, magnetic energy. Aaron Holiday delivers a menacingly determined performance as a man willing to ruin lives for profit, while Paige Searcy’s Lazzy finds herself at the center of one of the film’s wildest and most unpredictable sequences—culminating in a showdown that fans of both anime and live-action cinema will adore. It’s a scene that lingers long after the credits roll, leaving a grin that refuses to fade.
Ultimately, Appofeniacs was a delightful surprise. From its opening frames to its explosive finale, it’s a rollercoaster of laughs, shocks, and jaw-dropping sequences. Piliero’s debut isn’t just entertaining; it’s a reminder of the boundless storytelling potential that lies at the intersection of technology, morality, and sheer cinematic audacity. If this is only the beginning of Piliero’s journey, I, for one, am eager—and excited—to see what comes next.
Shelby Oaks
Chris Stuckmann’s directorial debut—his first feature—is already one of the most promising of the year, and it’s no surprise that Neon snapped it up quickly. What makes this film so compelling is how deeply personal the story is for Stuckmann. Inspired by his own childhood, he draws on the painful separation from his sister, who was effectively cut out of his life and told she was “spiritually dead.” Experiencing such trauma at just twelve years old is unimaginable, and that emotional weight clearly informs the heart of the film. Stuckmann and his sister only recently reconnected, and that reunion became a powerful source of inspiration, helping him craft a story that authentically explores the intense emotions of sibling loss and its lingering impact.
The film follows Mia (Camille Sullivan) as she desperately searches for her long-lost sister, Riley (Sarah Durn), only to descend into obsession when she begins to suspect that the imaginary demon haunting their childhood may have been real all along. The narrative is tense, terrifying, and relentlessly chilling—imagine Blair Witch colliding with Paranormal Activity, but with razor-sharp attention to detail and a score that amplifies every heartbeat.
The cast delivers fully committed performances that elevate each scene of dread and suspense. The scares are precise, psychological, and genuinely unsettling, while the film’s meticulous pacing keeps viewers on edge from start to finish. For anyone fascinated by paranormal investigations—or simply a fan of a well-crafted, deeply personal horror story—this is a must-watch. Stuckmann proves that his talents extend far beyond film commentary, delivering a debut that is both emotionally resonant and terrifying. With chills-inducing moments, striking creature design, and a finale that lingers long after the credits, I can’t wait to see what he does next.
Sisu: Road To Revenge
Sequels are notoriously difficult to pull off—especially in a cinematic landscape crowded with action films that favor endless explosions, faceless enemies, and minimal storytelling. Yet Sisu: Road to Revenge not only rises above the noise—it escalates the artistry of over-the-top violence to levels that are as exhilarating as they are audacious.
The first film introduced us to the unstoppable Aatami Korpi (Jorma Tommila), a one-man army cutting a bloody path through Nazis during World War II with ruthless precision. The sequel doesn’t simply rehash the original; it expands Aatami’s world while forcing him to confront his past. Old enemies resurface, new threats emerge, and the stakes are higher than ever—this time with a deeper emotional core, exploring a man just trying to rebuild his life after the loss of his family. The antagonists have shifted from Nazis to the formidable Red Army commander Igor Draganov (Stephen Lang) and his merciless squad, deployed by the sinister and calculating Richard Brake, who sets them on a relentless cross-country manhunt to eliminate Aatami by any means necessary.
The result? Bloodier, more brutal, and infinitely more chaotic than its predecessor. Every scene is a masterclass in inventive carnage, with Jorma Tommila’s Aatami dispatching foes through a mix of precision, cunning, and raw physicality. One standout sequence—a jaw-dropping blend of tank warfare and parkour—had the entire theater erupting in cheers, perfectly encapsulating the film’s unrestrained energy.
Stephen Lang and Richard Brake deliver villainy at its most unrelenting, radiating menace in every word and action. Each confrontation lands with bone-crunching impact, escalating the tension and making every kill feel consequential. The choreography of violence is meticulously staged yet relentless, creating a thrill ride that shocks as much as it delights.
Violent, relentless, and utterly unforgettable, Sisu: Road to Revenge is more than a sequel—it’s a statement. With the right cast, limitless imagination, and sheer audacity, it proves that follow-ups can not only meet expectations—they can surpass them, leaving a cinematic experience that lingers long after the credits roll. This is how you do a sequel.
