Action (along with horror) remains one of the industry’s most lucrative and continually thriving genres, with enduring popularity in both theaters and on streaming platforms. Many of the tentpole films that draw huge theatrical crowds are action flicks (from Die Hard (1988) to franchises like Mission Impossible, Mad Max, and John Wick) because they deliver heart-pounding thrills through visceral hand-to-hand combat, shootouts, high-octane chases, and aerial battles that provide viewers with an exhilarating cinematic experience. Personally, action films have given me some of my most memorable theatrical experiences, whether it was the heart-racing first watch of Mad Max: Fury Road (2015) or the infectious energy of a late-night, sold-out screening of Mission: Impossible—Fallout (2018) in a packed 500-seat theater.
Given the quantity of high-quality action films released each year, it is only fair to compile an annual list highlighting the best in the genre. The films chosen for this list are either all-action or genre crossovers, where action remains a driving force. However, these genre-blending films must include action sequences, which will be thoroughly discussed and analyzed in this list. So, without further ado, let’s dive into some of the best action films of 2025.
13. The Prosecutor – Donnie Yen
Donnie Yen’s The Prosecutor is a slick, confident action thriller—and an ideal choice to kick off the list of the best action films of 2025. Inspired by an actual drug-trafficking case from 2016, the film centers on Fok Chi-ho (Donnie Yen), a skilled police detective who subsequently becomes a public prosecutor for the justice department. His first case appears to be simple: prosecute a poor young man named Ma Ka-kit (Mason Fung), who is charged with drug possession (owing to the finding of drugs in his home) and is forced by his legal team to plead guilty in exchange for a reduced sentence. However, what appears to be a straightforward case exposes alarming discrepancies when Fok discovers that Ma’s legal team has been using legal loopholes to trap the innocent. In his search for the truth, Fok goes against his superior’s orders and takes on the cunning yet dangerous defense lawyer, Au Pak-man (Julian Cheung), and his criminal network, fighting on two fronts—inside the courtroom and on the streets—to clear Ma’s name.
The film combines martial arts action scenes with a legal courtroom thriller; this blending doesn’t always work well, resulting in an uneven pacing of the screenplay. In comparison to the breathtaking action scenes, the film’s legal segment lacks the same intensity and comes off as preachy at times, with dialogue that often feels corny. However, the film comes alive in the second act, which is primarily a police procedural, where the case of Ma Ka-Kit, who was deceived and incarcerated due to legal loopholes, is reinvestigated. What initially appears to be an open-and-shut drug trafficking case evolves into the unveiling of the entire city’s drug operation, highlighting themes of justice, inequality, and the flawed nature of the justice system (albeit only superficially). As a result, Fok is now up against the city’s most dangerous criminals who run the drug organization, and his struggle to take them down while acquitting Ma Ka-Kit against all odds heightens the emotional stakes and makes for a compelling watch.
The film ascends to another level thanks to its exceptional fight sequences, in which Donnie Yen demonstrates his martial arts prowess even at the age of 61, delivering action with absolute precision and fluidity. The action choreography is inventive, intense, and visceral. From the first-person “Call of “Duty”-style camera movements in Fok’s introductory scene to the climactic sequence inside a train (where he must take a key witness to court safely to testify), the action is bone-crunching with surgical choreography, turning every element inside the train—glass, benches, poles—into weapons, with the emphasis on efficiency and spatial awareness over flashy spectacle. Donnie Yen impresses as Fok, delivering a performance marked by elegance and grace while bringing gravitas to a character torn between legal principles and street-level justice. Additionally, through his martial arts talents, he proves once more that he remains a formidable force in action cinema.
12. The Accountant 2 – Gavin O’Connor
When the sequel to the 2016 film The Accountant was announced (a frankly average film), I, like many others, was apprehensive and dismissed it as a sequel no one asked for. However, upon viewing, the film proved to be a pleasant surprise for me, as it was a significant improvement over its predecessor and a silly, fun, action buddy comedy that I had a good time watching in the theater. Christian Wolff (Ben Affleck), an autistic math whiz and deadly freelancer, is contacted by a treasury agent, Marybeth Medina (Cynthia Addai-Robinson), following the murder of his former mentor, Ray King (J.K. Simmons), who was investigating a cold case involving a family’s disappearance. Alongside Marybeth, he seeks help and reconnects with his estranged and erratic mercenary brother, Braxton (Jon Bernthal). Together, they uncover a vast human trafficking conspiracy linked to a sophisticated criminal network. As they dig deeper, the Wolff brothers must navigate their strained relationship while fending off a relentless wave of killers.
When Marybeth contacts Chris, and they start their investigation into the family’s disappearance, the film transitions into a procedural, revealing several compelling developments that ultimately point to a human trafficking angle. The film truly comes alive with the arrival of Bernthal’s Braxton, subsequently evolving into a buddy comedy, as the two estranged brothers, who couldn’t be more different from one another, constantly bicker, clash, and eventually mend their relationship as the story unfolds. Their dynamic adds poignancy and humor to the story.
However, the screenplay focuses so much on their relationship that the human trafficking angle is left unexplored, and some of the characters feel underdeveloped, particularly the lack of a compelling villain, which hampers the film because the crime and buddy comedy angles do not blend properly. What really makes the film work is the effortless, lived-in chemistry between Bernthal and Affleck, which gives it a relaxed charm and makes it consistently watchable. Additionally, the action sequences are solid, with the highlight being the opening bathroom scene, where Ray King battles a bunch of goons in vicious and bloody hand-to-hand combat. The Accountant 2 makes for a solid hangout film, enjoyed with buddies while munching on snacks and a few beers after a long and demanding week.
11. Last Bullet – Guillaume Pierret
In Netflix’s Last Bullet, the final chapter of the French Lost Bullet series, director Guillaume Pierret goes full throttle, delivering a fast, furious, and hugely satisfying finale that’s a must-watch for action junkies. The film picks up where the previous one left off, with Lino (Alban Lenoir) being released from a Spanish prison and handed over to the corrupt French narcotics chief, Alexander Resz (Gérard Lanvin), who plans to eliminate him to conceal the truth about a high-level police conspiracy. As a result, Lino allies with his lover and narcotics officer, Julia (Stéfi Celma), and his bitter adversary, Areski (Nicolas Duvauchelle), the man who murdered his mentor, to combat Resz and his evil enforcers, resulting in a series of explosive, high-speed chases across France.
The film follows a formulaic and simplistic plot that aims to conclude Lino’s story by reassembling the broken threads and remolding them into one final sprint toward revenge, atonement, and fractured loyalties. It’s a good cops vs. dirty cops story that is highly generic and relies on familiar tropes; however, the creators wisely embrace its simplicity and execute it well by keeping the pace brisk and the energy high. However, what elevates the film are a series of dynamically choreographed car chase sequences, brutal hand-to-hand fights, and realistic, practical effects that feel impactful and tactile rather than relying heavily on CGI.
There are several stunning set pieces, including a brutal three-way confrontation aboard a moving tram that is thrilling and intensely raw, extended car-versus-motorcycle pursuits weaving through bustling parks and urban streets, and a climactic Mad Max-inspired showdown in the French countryside featuring helicopters, pyrotechnic tow trucks, and extensive vehicle destruction. From cars veering off the road to helicopters getting sliced in half in the middle of the street, the action is filmed with impeccable choreography and edited to keep the intensity relentlessly high. A surprising addition to the list that I wished I had seen on the big screen.
10. Ghost Killer – Kenesuke Sonomura
Ghost Killer is a delightfully inventive and refreshingly offbeat Japanese supernatural martial arts action comedy, directed by the long-time stunt coordinator and fight choreographer, Kensuke Sonomura. The story follows Fumika Matsuoka (Akari Takaishi), a quiet college student whose ordinary life unravels after she becomes possessed by the ghost of Kudo (Masanori Mimoto), a legendary hitman betrayed and killed by his own organization. To free his spirit, Fumika must allow Kudo to use her body to wreak revenge on those who murdered and betrayed him, including his old protégé-turned-rival Toshihisa Kagehara (Mario Kuroba). As a result, Kudo and Fumika develop an unlikely alliance, with Fumika drawn deep into the criminal underworld, a world full of violent criminals and gangs, which she is unfamiliar with and hardly understands.
The screenplay patiently lets Fumika, an ordinary college girl, come to terms with the fact that a ghost has possessed her and intends to use her body to exact vengeance on the people who killed him and set his spirit free. The result is a lot of back-and-forth banter between them, which can become a bit too much at times, resulting in comic moments, some of which land (particularly the exchanges between them when Kudo is inside her body and they’re fighting the foes) and some of which don’t. However, the rapport and the dynamics between Fumika and Kudo are what lend the film its emotional depth; as the film progresses, he sincerely starts to care for her and worry about her safety, which feels both endearing and heartwarming.
The third act shifts into overdrive, firing off nonstop action at full speed. Sonomura’s direction comes alive here, with slick, hard-hitting fight choreography that’s inventive, brutal, and impressively fluid—standing shoulder to shoulder with standout action from The Raid, The Night Comes for Us, and the John Wick films. This is where Sonomura’s experience as a seasoned stunt coordinator shines through, particularly in the climactic extended fight sequence, which is so astonishing, raw, and rapid-fire that it’s hard to fathom how they manage to execute such physically demanding and intense choreography with such precision and ease. Takaishi as Fumika delivers an impressive performance that seamlessly transitions from a terrified college student to a vicious assassin while demonstrating remarkable physical range and command of the action. For all its flaws, Ghost Killer throws supernatural scares, broad comedy, and martial arts chaos into the blender—and the result is a solid, brain-off good time.
9. Fight or Flight – James Madigan
Fight or Flight, directed by James Madigan, is an over-the-top, gloriously cheesy, and hilarious thrill ride that I thoroughly enjoyed watching. Lucas Reyes (Josh Harnett), a disgraced ex-secret service agent hiding in Bangkok, is contacted by his former flame and handler, Katherine Brunt (Katee Sackhoff), who offers him the chance to end his exile if he accepts the job of identifying a mysterious, high-value asset known as “The Ghost” on a commercial flight to San Francisco. Upon boarding, he realizes that the plane is full of hired contract killers out to assassinate the enigmatic The Ghost. As a result, Reyes must not only locate and protect The Ghost (a genius hacker seeking to expose corporate crimes everywhere) but also face the other terrifying assassins 37,000 feet in the air.
The film has an intriguing premise, reminiscent of Bullet Train (2022) but set aboard an airplane, which heightens its sense of claustrophobia and suspense. The screenplay keeps its brisk pace and steady momentum until it reveals “The Ghost’s” identity and true intentions. However, it felt like the makers were uncertain how to proceed thereafter and how to conclude the film, resulting in the plot losing its steam towards the end. Nonetheless, the film remains extremely watchable and entertaining thanks to its insane action set pieces and brilliant integration of humor and absurdity amidst the chaos.
The action choreography is dynamic, highly stylized, and incredibly fast-paced, reminiscent of the church scene in Matthew Vaughn’s Kingsman: The Secret Service (2014). From brutal hand-to-hand combats in the tight quarters to the hilarious bathroom brawl in which Reyes fights an assassin under the influence of drugs to the final chainsaw massacre, the makers expertly exploit the plane’s claustrophobic setting to stage creative, high-impact action set pieces. Josh Harnett’s portrayal of Lucas Reyes—a drunk, exhausted, yet skilled agent—is the film’s driving force. Harnett brings an extraordinary amount of charisma, comedy, and physicality to the role, and his backstory, shown during a quick flashback scene, makes him even more likable and easy to root for. Fight or Flight is knowingly silly and extremely self-aware, rewarding viewers who go along for the wild ride instead of nitpicking the plot holes or complaining about the illogical plot points.
8. Novocaine – Dan Berk and Robert Olsen
Novocaine, directed by Dan Berk and Robert Olsen, embraces its madness, combining pitch-black humor with frenzied thrills to create a brilliantly creative and compulsively fun genre ride. The plot revolves around Nathan Caine (Jack Quaid), a loner and introvert who works as an assistant manager at a San Diego trust credit union and suffers from CIPA (Congenital Insensitivity to Pain with Anhidrosis), a rare condition that prevents him from experiencing physical pain. When his crush and coworker, Sherry (Amber Midthunder), asks him out and they spend the entire night together, he is overjoyed and believes he has met the woman of his dreams. However, that delight is short-lived when the next day, a criminal gang led by Simon (Ray Nicholson) arrives to rob the bank, kidnap Sherry, and hold her hostage to evade the authorities. As a result, Nathan uses his rare medical condition to his advantage and seeks help from his only friend, Roscoe (Jacob Batalon), an online gaming pal he has never met before, to track down the crooks and save the love of his life.
The film opens with a sweet and tender love story between Nathan and Sherry. Nathan is an introvert, a shy and awkward guy (with a rare medical condition) who has never been in a committed relationship. When a stunning girl like Sherry approaches him and they spend the night together, Nathan is ecstatic, thinking that she might be the one he has been waiting for all along and could offer purpose to his humdrum and lifeless existence. So, when the criminals kidnap Sherry, he tries to move heaven and earth to locate her, leading to an outrageously violent and hilarious adventure that will keep you hooked.
Novocaine also benefits from its bone-crunching and creatively staged action sequences, with intelligent choreography that takes into account that Nathan is not a skilled fighter. Additionally, his condition of not feeling any pain is woven seamlessly into the action choreography, resulting in unpredictable, absurd, and outrageously memorable moments, whether it’s plunging his hand into a sizzling deep fryer to grab a gun, embedding broken glass into his fists to fight his opponent, or shrugging off arrows, burns, stabs, and beatings without flinching.
Nathan Caine is a man who would do anything for the woman he loves, and Jack Quaid plays the role brilliantly, bringing unexpected physicality to the character while yet being charming, awkward, and sweet. As Sherry, Amber Midthunder is stunning, ferocious, and crafty; Ray Nicholson is outstanding as the villain with his grinning menace that reminds me of his father; and Jacob Batalon, as Nathan’s tech-savvy sidekick, offers good comic relief. While the film’s final act feels stretched and overlong, particularly the climactic action scene, which is unnecessarily prolonged, Novocaine remains an entertaining, guilty-pleasure romp that blends humor with action and visceral thrills well enough to make it a delightful viewing experience.
7. From the World of John Wick: Ballerina – Len Wiseman
Len Wiseman’s Ballerina is a worthy spin-off that adds to the ever-expanding John Wick universe with its straightforward but effective origin story, ferociously imaginative action choreography, and Ana de Armas’s physically dedicated performance. Following the murder of her assassin parents at a young age, Eve Macarro (Ana de Armas) is placed under the vigilant supervision of The Director (Anjelica Houston) at the Ruska Roma Academy, where she receives training both as a ballerina and as an assassin. After years of training, obtaining the title of “Kikimora,” and completing multiple missions, she finally chooses to get retribution for her parents’ deaths. As a result, she defies the director’s orders and sets out to kill the entire ruthless cult gang, spearheaded by “The Chancellor” (Gabriel Byrne).
While the film’s first act drags due to the generic and highly predictable origin story, the crisp cinematography and world-building (of Ruska Roma) capture the franchise’s visual flair and keep us engaged (particularly the well-done intercut montage sequence of her training as a combatant, a gunman, and a ballet dancer). However, the film hits its stride when the plot turns into a revenge story, following Eva’s obsession with getting even with those responsible for her father’s death. As a result, the second half erupts into an endless barrage of mayhem, delivering one standout action sequence after another.
The action choreography is intense, dynamic, and electrifying, reminiscent of the John Wick franchise in terms of long takes, practical stunts, and stylized over-the-top violence. Standouts include a grenade-filled brawl in the armory, a flamethrower duel that borders on ridiculous, and long set pieces in snowy locations that combine gun-fu, hand-to-hand fighting, and environmental kills. The film’s extended climax, set in the picturesque snowy Austrian region of Hallstatt, is an action-packed, gory marathon of pure, unpretentious fun and nail-biting moments. Ana de Armas dives headfirst into the role of Eve and delivers an incredibly physically demanding performance, selling every shot, kick, and punch with incredible energy, aplomb, and perfection.
6. Sisu: Road to Revenge – Jalmari Helander
“Sisu: Road to Revenge,” directed by Jalmari Helander, is a no-nonsense, no-holds-barred, balls-to-the-wall Finnish action sequel that picks up seamlessly from Sisu (2022) and delivers a fitting, ferocious continuation of its breakout predecessor. Following the events of the first film, Aatami (Jorma Tommila), the former Finnish ex-commando, returns home, which is now under Soviet control after the war in 1946. There, he finds out that his family has been brutally murdered during the war. As a result, he disassembles the house and loads it into the truck, intending to rebuild it somewhere safe in their honor. In the meantime, the Red Army learns that Aatami has crossed into Russian territory and is aware of his reputation for killing Nazis from the previous film. They decide to release Igor Dragonov (Stephen Lang), a former KGB officer responsible for the murder of Aatami’s family, from prison in Siberia to execute Aatami as well. Now, Aatami is dragged back into conflict, igniting a harrowing cross-country chase.
A good action film requires two things to succeed: a simple story executed with precision and standout action set pieces, which Sisu: Road to Revenge delivers with ruthless efficiency. As far as movie plots go, this one is as basic as it gets. Having learned of his family’s murder during the war and surviving the bloodshed of the previous film, Aatami is looking for a fresh start; meanwhile, Dragonov, the man responsible for killing Aatami’s family, is released from a Siberian prison to hunt him down. And upon the establishment of this conflict, the film becomes a high-octane road rage action thriller, which can also be called “Sisu: Fury Road.” The action sequences are top-notch, drawing inspiration from classics like Mad Max, Indiana Jones, and Buster Keaton movies, with well-choreographed, hands-on stunt work that favors old-school physicality over the fancy camera movements or green-screen-heavy spectacle.
The film progressively raises the stakes with each action set piece, beginning with an ambush by Dragonov’s troops, escalating to motorcycle attacks in an aptly titled “Motorcycle Mayhem” chapter (which is full of pure Indiana Jones energy), and ultimately culminating in a high-stakes train showdown. The choreography is clean and emphasizes impact over elegance, the action is relentless, pulsating, and energetic, and each action beat feels grounded, punishing, and purposeful rather than showy.
Even though the ending is predictable, given that Aatami is known as “the man who refuses to die,” the makers ensure that the journey and the cat-and-mouse game between him and Dragonov are more intriguing than the result. Unlike its predecessor, in the sequel, Aatami gets beaten, bruised, defeated, and even caught. Additionally, the makers showcase his vulnerability to heighten the film’s emotional impact, whether it’s in the scene where he realizes his family is dead or in the fantastic final scene, which serves as a fitting conclusion to the character. Sisu: Road to Revenge is an impressive sequel that showcases Helander’s growing ability as a filmmaker, transforming exaggerated violence into a thrilling cinematic spectacle.
Read the full review of Sisu (2022) here
5. The Shadow’s Edge – Larry Yang
The Shadow’s Edge, a remake of the 2007 film Eye in the Sky, directed by Larry Yang, is a high-octane, action-packed heist thriller that marks a welcome return to form for the action legend Jackie Chan, delivering his best film since The Foreigner (2017). After a highly skilled heist crew, led by former intelligence officer Fu Lang-seng (Tony Leung Ka-fai), successfully executes a bank job while evading the Macau Police’s advanced AI tracking technology, the department summons the legendary surveillance expert Wong Tak-chong (Jackie Chan) from retirement to apprehend the perpetrators. Wong assembles and trains a surveillance team, including a determined but grieving rookie, He Qiuguo (Zhang Zifeng) (the daughter of his late partner), to hunt down Fu and his “Wolf Pack,” a skilled gang of orphans led by the loyal Xi Wang and the rebellious hacker Xi Meng (both played by Ci Sha), in a tense cat-and-mouse game through the streets of Macau.
The film opens with a brilliant heist sequence that perfectly sets the tone. It is slick, cool, and fast-paced, showcasing the thieves’ tremendous proficiency, creativity, and improvisational skills. After Wong enters the story, his bond with rookie cop, He, quickly becomes the film’s emotional core. Burdened by guilt over the death of his former partner—He’s father, killed in the line of duty—Wong takes on a protective, almost fatherly role, and the screenplay handles the evolution of their relationship with real tenderness and sincerity. Additionally, the film excels due to a formidable antagonist in the form of Fu, a ruthless, cunning, and menacing presence who crushes anyone foolish enough to stand in his way. However, the film’s 143-minute runtime feels a little overdone as Fu repeatedly escapes the police’s grip—which becomes tedious and repetitive over time—though the fast pacing keeps you intrigued and distracts from its weaknesses.
The action scenes are top-notch, with vicious and relentless hand-to-hand choreography that goes for the jugular. The highlight comes in the final confrontation between Fu and Wong, two analog warriors in a tech-driven, AI-reliant world where the film leans into the idea that the old-school methods (raw skill and instinct) are sometimes the best. Even at 71, Jackie Chan delivers top-tier action work, performing his own stunts with astonishing control and physicality. It’s wonderful to see Jackie Chan still bringing his A-game to the action, and his passion for the craft is clearly visible on the screen and highly contagious. I saw The Shadow’s Edge only for Jackie Chan, which made me nostalgic, and I was not disappointed—a worthy addition to the list of best action films of 2025.
4. Predator: Killer of Killers – Dan Trachtenberg
Dan Trachtenberg’s Predator: Killer of Killers, the sixth episode in the renowned Predator franchise, is a lavishly imaginative, brutally violent, and impeccably crafted animated spectacle. The film is an anthology of three stories set in separate historical periods. In the first one, titled “The Shield,” Norse warrior Ursa (Lindsay LaVanchy) seeks vengeance on the Krivich tribe in Viking-era Scandinavia but encounters a Predator that she must fight. “The Sword” features brothers Kenji and Kiyoshi (Louis Ozawa) in feudal Japan, when Kenji returns as a ninja years later to seize power, ignorant of a lurking Predator. Lastly, in “The Bullet,” Torres, a U.S. Navy pilot during World War II, discovers extraterrestrial weapons while searching for an enemy aircraft and ends up battling a Predator. The storylines converge when Ursa, Kenji, and Torres are caught and must fight each other at a Predator stronghold, with only the survivor earning the chance to fight the Predator warlord in a final test of survival.
The screenplay is well-structured and tight, with each segment lasting roughly 20–25 minutes while maintaining a brisk tempo and seamless narrative flow throughout the 85-minute runtime. Within these brief runtimes, the makers pack a lot of emotional punch, taking the viewers on captivating character journeys where our heroes fight not just alien pursuers but also the weight of expectation, legacy, and inner turmoil. Additionally, each story has a specific visual style and feel that complements its historical setting, and the same is true for the action.
The action in “The Shield” leans into raw, brutal Viking combat that echoes the savage intensity of The Northman (2022), while “The Sword” shifts gears, favoring stealth, speed, and sleek swordplay, capped off by a fast-moving rooftop chase with a cloaked Predator. Furthermore, “The Bullet” delivers the film’s finest action set piece via an aerial duel, merging tension and tactical maneuvering in a sequence as riveting and nerve-racking as in Top Gun: Maverick (2022). Finally, the film’s animation, created by The Third Floor, is bold, stylistic, and visually captivating, drawing inspiration from Netflix’s Arcane and Love, Sex, and Robots, resulting in highly detailed landscapes and emotive character designs.
Read the full review of Predator: Killer of Killers here
3. Mission: Impossible – The Final Reckoning – Christopher McQuarrie
While it does not live up to the lofty standards of the earlier entries, Mission: Impossible—The Final Reckoning is a fitting send-off to one of cinema’s greatest franchises, as Tom Cruise takes us on one last exhilarating ride in this epic action adventure. The film picks up where Mission: Impossible—Dead Reckoning (2024) left off, with Ethan Hunt once again leading his team on a perilous quest to locate the sunken Russian submarine Sevastopol. The submarine is believed to contain the source code to “The Entity,” a rogue AI that poses a threat to global nuclear stability. Supported by his dedicated team, comprising Benji (Simon Pegg) and Luther (Ving Rhames), and accompanied by the reformed thief Grace (Hayley Atwell) and the French assassin Paris (Pom Klementieff), Ethan must outwit the Entity’s proxy Gabriel (Esai Morales) and the skeptical CIA Director Eugene Kittridge (Henry Czerny). With Erika Sloane (Angela Bassett) now serving as President of the United States, the mission tests the IMF’s capabilities as they face an adversary who can predict their every move.
The film presents Hunt with the most complicated mission of his career. As a result, the first half is heavy on exposition, explaining the Podkova, its creation through Rabbit’s Foot, the concept of a poison pill, and Ethan’s plan to stop the Entity and Gabriel from controlling it. The film also segues into a mission-focused sequence in which Ethan and his team must locate the correct coordinates of the Sevastopol submarine, which is deep beneath the water, and retrieve Podkova from inside the vessel. However, once the nearly impossible mission begins and complications arise, the film shifts into high gear because it is exciting and rousing to see how Hunt and his team deal with the complications, race against the clock, and manage the high stakes to overcome those obstacles and finish the mission by the skin of their teeth at the very last minute. Furthermore, the action sequences are absolutely astounding and anxiety-inducing, as Tom Cruise goes to great lengths (as he always does) to make it realistic and provide us with a captivating theatrical experience.
Two action sequences come to mind that are both massive in scale and masterfully executed: the first is Hunt driving solo in the cold underwater to locate the Sevastopol submarine and extract the Podkova, the Entity’s source code. It is an extended twenty-minute sequence devoid of any background score, featuring exceptional sound effects to create nail-biting tension. I recall the packed theater being dead silent throughout the sequence, with only a few gasps audible. The entire action sequence feels like a masterclass in suspense filmmaking, using near-silence, the eerie clatter of torpedoes colliding, the suffocating tightness of flooding corridors, and enveloping darkness to build relentless tension and genuine goosebumps.
The other standout sequence is a 15-minute aerial climactic showdown in which Hunt chases Gabriel in a vintage Stearman biplane over South African canyons and mountains at 10,000 feet, with 140 mph winds violently whipping him around. This one took 1.5 years of preparation and was done without any CGI safety nets, as Cruise hangs from the undercarriage of a plane, ascends the wing, ejects the pilot to assume control, and then leaps mid-air to Gabriel’s aircraft for an intense cockpit fistfight. It’s pure Cruise madness and peak daredevilry, and the sequence is even better than the one he did in Mission: Impossible—Fallout (2018). The sheer audacity, the conviction, and the unwavering commitment of Cruise and his crew to providing pure entertainment are what I will miss from this franchise.
2. Predator: Badlands – Dan Trachtenberg
Dan Trachtenberg is having a career-defining year, boldly expanding the Predator franchise in fascinating new directions, first with the superb Predator: Killer of Killers, and now with Predator: Badlands, a rollicking sci-fi action adventure that is my second favorite in the entire series. Dek (Dimitrius Schuster-Koloamatangi), a child Yautja, is banished as a runt and unworthy by his cruel father, Njohrr (Reuben de Jong), who has no tolerance for weakness. To demonstrate his worth, Dek decides to journey to the dangerous planet of Genna and hunt the unkillable and hazardous beast Kalisk. Upon his arrival, he establishes an unlikely alliance with Thia (Elle Fanning), a damaged Weyland-Yutani android with a budding soul, and Bud, a little native creature. As they search for Kalisk, they must also confront Thia’s militant droid sister, Tessa (Elle Fanning), whom the Weyland-Yutani have dispatched to capture Kalisk and Dek at any cost.
The makers cleverly flip the script here, just like James Cameron did with Arnold’s T800 in Terminator 2: Judgment Day (1991), by turning one of the most iconic villains in film history into a hero worth rooting for—the Yautja Predator. The film is tightly written, flawlessly executed, endlessly creative, and exquisitely crafted from start to finish. The world-building in the film—particularly that of the Genna planet, known as “Death Planet”—is highly immersive and top-notch, with stunning visual effects that rival those of the Avatar films. The place is rife with thick forests, foggy and humid regions teeming with poisonous plants and animals, and a general atmosphere of imminent danger. There are carnivorous trees and tentacle-like vines that grab and swallow victims, spike pods, grass made of razor-sharp glass that can cut through skin, and cactus-like plants that shoot poisonous thorns.
In addition, there are some unusual and potentially deadly species, such as the bone bison, which is a gigantic herbivore with strong jaws and a penchant for charging toward the enemy out of nowhere; enormous worms that appear out of thin air and release a toxic fluid; winged dinosaur-like beings with superior intelligence who hunt and kill; and last but not least, the Kalisk, the ultimate apex predator, a monster that is undefeatable and can regenerate itself. Watching Dek, Thia, and Bud face all of these dangers makes for a thrilling viewing experience that keeps us glued to the screen.
The action sequences are fierce, violent, and unrelenting; they serve as shock value because the danger appears out of nowhere, compelling the protagonists to participate in fights in which they are unprepared and forced to improvise, lending the choreography an air of inventiveness, fluidity, and energy. Extra props to an absolutely bonkers scene in which Thia fights with goons with her upper and lower body operating separately yet simultaneously—a wildly inventive set piece that’s cool as hell to watch.
Beyond the outstanding visuals and action, the film’s greatest strength lies in its effective emotional payoff, anchored by Dek’s transformational arc as he grows from a savage brute to someone who learns empathy and humanity, mainly through the supporting characters of Thia and Bud. The dynamics between Dek, Bud, and Thia add a surprising warmth and humor to the narrative. Elle Fanning is a standout as Thia, the android whose witty, humorous, and intellectual personality acts as the film’s emotional glue, providing lighthearted moments to counterbalance the darker tone.
1. One Battle After Another – Paul Thomas Anderson
One Battle After Another is Paul Thomas Anderson’s most entertaining and accessible film to date. It’s also one of his most thematically rich works—a grand, epic adventure and a groundbreaking cinematic achievement that also happens to be the best action film of 2025, ranking just behind There Will Be Blood as my second-favorite PTA work. Based on Thomas Pynchon’s Vineland, the film centers on Bob Ferguson (Leonardo DiCaprio), a former revolutionary tied to an underground group called French 75, who now lives a quiet, drug-fueled existence with his daughter, Willa (Chase Infiniti), after his wife, Perfidia (Teyana Taylor), vanished years ago. When the racist and corrupt Colonel Steven Lockjaw (Sean Penn) is invited to join the Christmas Adventurers Club, a clandestine white supremacist organization, he resolves to pursue and kill Willa and Bob to conceal his past interracial relationship with Perfidia, fearing that Willa could be his daughter. After Lockjaw launches a city-wide hunt and kidnaps Willa, Bob is dragged back into the high-stakes fight and seeks assistance from his fellow supporters and remnants of the revolutionary gang, including karate sensei Sergio St. Carlos (Benicio del Toro) and the resourceful Deandra (Regina Hall), to save his daughter.
The film’s linear screenplay can be split into two halves: The first half feels more like a biography of Bob Ferguson’s life, depicting key events such as his work with the French 75 organization, his love story with the fierce Perfidia, Steven Lockjaw’s sexual fascination with her, her becoming pregnant, and her eventual departure, leaving Bob alone to raise Willa. This serves as the ideal setup for the chaos that ensues in the second half, which jumps 16 years later and explodes into a manic action thriller pursuit driven by Bob’s desperate search for Willa. The second half is frantic, darkly comical, and intense, as Leo channelizes his inner Dude from The Big Lebowski (1998) and endures immense tribulation in his quest to locate his daughter. He escapes through the tunnel from Lockjaw and his troops, gets tear-gassed, falls while jumping from one building to another, gets tased, gets arrested, jumps from a moving car, and even struggles to find a phone charger or remember the coded greeting that will lead him to a resistance rendezvous where Willa may be hiding before her capture.
The tension reaches its crescendo in the final climactic showdown, which features a car chase sequence unlike anything I have seen before. The “desert road” sequence, shot largely in the Borrego Springs area of San Diego County, features a stretch of road known as the “River of Hills,” with a dramatic dip and rise. The front-mounted camera plunges and climbs with the car, creating an immersive first-person experience that delivers a roller-coaster sensation and sends butterflies to your stomach with every dip. It is an ingeniously crafted action set piece that was not initially in the original script but was added after PTA accidentally discovered the location during scouting, which inspired him to design the film’s climactic action finale around it. The sequence has already become iconic and will be talked about for years to come; it is also undoubtedly my favorite action sequence of the year.
Best Action Films of 2025 links: Letterboxd, IMDB, Wikipedia
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