As with last year, the end of the year and start of the next year brings so many cinematic releases that it is next to impossible to do individual reviews for each film. Flickchart already released its Top 20 Films of 2024 list, but so many films don’t find their audience until well into the next year. This article will do what Flickchart does best, and do a ranked list of all of the end of year releases and early 2025 releases.
5. Wolf Man

Leigh Whannell‘s remake of The Wolf Man unfortunately stumbles a bit, especially when compared to his strong The Invisible Man remake. Both are modern updates to classic Universal horror properties, and are part of Universal’s new approach to its IP in the wake of two awful attempts to start their own cinematic universe. While The Invisible Man took more than a few liberties with the material, it still ultimately followed the same overarching plot of Adrian Griffin concocting a means of becoming invisible and using his new powers to stalk and abuse others.
Whannell’s Wolf Man bears no resemblance to the 1941 classic apart from being about a werewolf and perhaps a few visual callbacks. There are no mentions of gypsies, curses, Larry Talbot, or any of the mysticism or religious undertones that were in the original film. One almost wonders why this isn’t simply a new independent werewolf film. Until one remembers IP.
But the lack of adherence to the original is not the film’s largest issue, if it indeed is an issue. The bigger concern is the film’s lack of strong characterization, chills, or anything to bite onto. The lead performance from Christopher Abbott is decent enough and the limited scope of the film, set mostly during one night, is admirable. But it is the film’s small nature that ultimately limits it. Themes are underbaked, and there is no time to build up dread and anticipation about the curse thrust upon Abbott’s character. One of the biggest appeals of the original is the convincing performance from Lon Chaney Jr. as he slowly realizes that his curse is permanent and is going to ruin his life. There is no time for such a buildup here due to the nature of the screenplay.
The result is a film that feels a few degrees undercooked. While that might be to the taste of a carnivorous werewolf, it is not to the taste of good cinematic viewing. The largely excellent special effects are ultimately wasted on a film too caught up in trying to be different, rather than good.
Current Global Ranking: 93,925
Total Users Ranked: 43

January is often a dumping ground for terrible films that studios don’t know what to do with. It appears One of Them Days is one such film: a rare theatrical release comedy that they just didn’t know what to do with.
But upon actually viewing the film, it quickly stakes a claim as one of the best 2025 films so far. One of Them Days is an insightful comedy steeped in the black culture of LA. Featuring the comedic duo of Keke Palmer and pop star SZA in the lead roles, the film is a chaotic almost screwball-like chase to obtain rent money and avoid conviction, all while Palmer’s character prepares to interview to become a manager of the restaurant where she works.
The script is quite funny and gives plenty of room for Palmer and SZA to flash their comedic chops. While it is occasionally almost too goofy given the rest of the film’s tone, director Lawrence Lamont keeps a firm hand on the reigns of the film to prevent anything from becoming too ridiculous. Much of the humor is based in a certain cultural perspective, but it is universal in its execution and delivery. The film even manages to work in subtle themes about attaining excellence and whether circumstances or personal drive are responsible for holding one back. It would be too much to call it super deep, but nor is it poorly done or shallowly handled. Hopeful the film is a harbinger of a strong year of comedy to come.
Current Global Ranking: Unranked
Total Users Ranked: 18
3. Companion

Another film breaking from the theme of terrible January releases is Companion. The film comes from many of the same producers as the 2022 cult hit Barbarian. Companion almost surprises in how much it adheres to the structure of that film, as far as setting up a premise before pulling the rug out from under it.
This is a shorter and more streamlined film, though, and less wacky to an almost disappointing degree. That’s not to say Companion isn’t without its wild share of plot twists and turns, and several reevaluations of expectations. But it never quite reaches the unbridled heights of Barbarian. It also has a thematic core that is fairly obvious and almost feels overplayed at this point.
Despite these complaints, Companion is still a really fun film. The script is quite clever and funny, setting itself up well for an efficient series of payoffs. The lead performances from Jack Quaid and Sophie Thatcher are also good. Quaid has found a recent niche of playing in this new wave of horror features as an unassuming normal guy. Despite being a nepo baby, Quaid captures an everyman quality quite well and plays dumb and simple without being overly broad about it. Thatcher also goes through the wringer here, if not quite matching the heights of her turn in last year’s Heretic. Rupert Friend also has a small role as a Russian with an obsession with Stalin, perhaps a fun nod to his role in The Death of Stalin.
With a strong color palate, and tight pacing, Companion is never visually dull and never overstays its welcome. The quality of production makes one wish it had slightly higher ambitions, but holding that against the film isn’t quite fair either. Companion is easily one of the better January releases in years.
Current Global Ranking: Unranked
Total Users Ranked: 4
2. Flow

Nominated for both Best Animated Film and Best International Feature, Flow has yet to even have a wide US release but is doing its best to find an audience as a small budget film. Coming from Latvian filmmaker Gints Zilbalodis, who turned some heads with his debut feature Away, Flow is a silent film that tells the tale of a cat on an adventure.
What the story is beyond that is somewhat up to viewer interpretation. Without dialogue, Flow leans all on visuals to tell a story. With a unique lofi animation style for its characters, the film still manages to captivate and demonstrate the power of visual storytelling and how much can be conveyed. The cat at the center of the film lives in a mysterious post-apocalyptic world where remnants of humanity appear left behind. No explanation is given for any of this, simply serving as world-building for the central narrative.
The narrative is a charming story of a world becoming submerged in water. Forced to leave the home it resides in, the cat soon winds up companions to a plucky ragtag group of animals including a yellow Lab, a capybara, a lemur, and a secretary bird. Despite their differences, they have to learn to get along and navigate the difficult situation they find themselves in. The animation team does an excellent job of giving all of these animals various characteristics. The film’s mixture of realistic animation and behavior for the animals and the fantastical settings make for a unique tone that is captivating.
Despite the dialogue-free approach, there is a wonderful heart to the film. The score does work to make up the difference, with some powerful musical moments helping establish tonality throughout the movie. Flow may have somewhat of a barrier to entry, but those willing to embrace the silent methods employed will find themselves with a treat of a film.
Current Global Ranking: 67,352
Total Users Ranked: 80
1. Sing Sing

Sing Sing likely just missed out on being a Best Picture nominee, but it is up for three Academy nominations in the form of Best Adapted Screenplay, Best Original Song, and Best Actor for Colman Domingo. And this really is the Colman Domingo show. His performance in the film is fantastic, an emphatic and heartfelt turn from a man trying to be hope for all in a nearly hopeless situation.
The film follows an acting program at Sing Sing prison. The reason this screenplay excels is the lack of the typical tropes that prison films have. The vast majority of the film’s runtime is dedicated solely to the acting troupe and the things they do, making scenes depicting the rest of prison life a rarity. This was an excellent instinct on behalf of the screenwriters and director Greg Kwedar. They understand that we don’t need all of the exposition to understand the heart of this story.
And what a heart this film has. The film centers on this idea of the hope and joy creative expression can bring, even in the toughest of circumstances. A large chunk of the cast features former members of the actual program playing themselves, adding an authenticity to the film beyond just what the writing brings.
The best of these is the primary supporting character, Clarence Maclin. He plays a tough guy and is given the largest transformative arc in the film. Maclin excels as this material, starting off with much bravado and refusing to give his full effort playing Hamlet in the wacky time-hopping comedy that the troupe decides to make their next production for the length of the film. By the end as he delivers the famed soliloquy, the film has lured you into utter empathy with him.
While the ending may almost be too neat and happy, there is an admitted joy to it after all that came before. While there were better films in 2024, Sing Sing is perhaps the most empathy producing film of the year. The strong narrative focus, excellent performances, and inherent truth make it a can’t miss film.
Current Global Ranking: 43,956
Total Users Ranked: 73
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