Let’s make something clear here: “F1” is not the best film of the year, mostly because its script is not exactly air-tight. But when it comes to sheer spectacle and thrilling action sequences, few other movies in 2025 match the kinetic energy of Joseph Kosinski’s racing drama. Much like the filmmaker’s “Top Gun: Maverick,” it’s Kosinski’s relentless pursuit of realism in the action scenes that makes the film so entertaining. Here, by putting its leads in actual racing cars, “F1” is able to create an unparalleled sense of immersion (one that makes viewers feel like they’re in the driver’s seat themselves). Indeed, every racing sequence is more hair-rising and exciting than the last. By shooting the movie on real F1 racetracks, Kosinski and his crew also succeed in showing that racing is not just about having a fast car; rather, every F1 team needs an effective strategy to achieve victory.

Watching Brad Pitt’s washed-up F1 driver Sonny Hayes execute increasingly absurd strategies and schemes mid-race to confound both his team and his adversaries feels like watching a classic ’80s action hero pull off some ridiculous surprise at the last minute to shoot down 40 enemies just as he’s cornered. Sure, Sonny may not be in a gunfight, but the tricks he relies on here are comparable to the relentless fighting spirit of someone like Rambo — and the races he’s involved in are a matter of life-and-death in their own way. (Rafael Motamayor)

The “Mission: Impossible” movies might’ve started with a twisty noir-thriller with stellar action set pieces, but the franchise is now synonymous with audacious stunts, courtesy of one Tom Cruise. This nearly 30-year legacy culminates with the tonally-muddled “Mission: Impossible — The Final Reckoning,” in which Ethan Hunt (Cruise) juggles world-ending stakes while battling a malevolent A.I. Big Bad. But while this grand conclusion falters at certain points, the action sequences are anxiety-inducing, pushing the limits of everything Hunt has done to make the world a safer place so far. Gone is the tongue-in-cheek levity of earlier franchise installments, as “The Final Reckoning” extends its straight-edged sincerity to its larger-than-life action (and every nerve-wracking thrill that comes with it).

In addition to the film’s impressive shootouts and hand-to-hand fights, director Christopher McQuarrie delivers a top-notch underwater submarine sequence that uses silence to build an exquisite sense of tension. Hunt is on his own here with no one to rely upon, and the horrific sound of the submarine turning tightens the noose of anticipation while he frantically searches for a way out. And just when you think the film couldn’t possibly top such a visceral action scene, Hunt and the movie’s antagonist Gabriel (Esai Morales) find themselves engaged in the most dramatic biplane tussle imaginable, resulting in a heart-pounding sequence that’s impossible to look away from. When we see Hunt hanging from the biplane, determined to save the world, his purpose as the living manifestation of destiny becomes crystal clear. (Debopriyaa Dutta)

Jack Quaid’s breakout role was as Wee Hughie on “The Boys,” an average nice boy who gets thrown into a world of violence. Quaid channels that performance to make himself an action star in “Novocaine.” He plays Nathan Caine, a bank manager who races off to catch some robbers when they take his new girlfriend, bank teller Sherry (Amber Midthunder), hostage. Between Quaid and Midthunder, she’s the more natural action star (see: “Prey”), and let’s just say the movie doesn’t forget that.

Nate has no crimefighting or detective skills, but he does have a unique ability. Due to a disorder, he feels no pain, even from horrible injuries like stabbing, third-degree burns, etc. (That’s why the movie is titled after an anesthetic.)

While Nate is comparable to Wolverine, there’s a key difference — his injuries don’t heal. He still gets hurt and can die, he just can’t feel that. This might sound awesome to those of us who live with pain every day, but “Novocaine” shows it’s actually a disadvantage because Nate can’t tell when he’s in danger. That right there is some smart action screenwriting; turning a factor that could make your hero seem invincible into a weakness.

Nate’s ability to walk off pain makes him a perfect punching bag and lets “Novocaine” seamlessly combine action with comedy. Take the scene where Nate is tied up and tortured, an action movie cliche. To avoid tipping off his captors about his disorder, he has to pretend to be in agony. (Devin Meenan)

The “Animation is cinema” crowd received yet another feather in their cap, thanks to the innovative action of “Predator: Killer of Killers.” New franchise architect Dan Trachtenberg returned to the scene of the crime after directing 2022’s “Prey” to such widespread critical acclaim, this time filtering the classic sci-fi action franchise through the lens of animated storytelling. The idea of an anthology movie depicting the animalistic Yautja on various hunts throughout human history, taking on the greatest foes from multiple time periods, is something audiences have been yearning for going back decades. But even the biggest “Predator” fan couldn’t have anticipated just how well this material would lend itself to the most stylistic and action-packed installment in the property — by far.

“Killer of Killers” isn’t just a feast for the eyes; it’s an incredibly well-executed display of one all-timer set piece after another. Trachtenberg’s eye for detail, combined with the work of animation studio The Third Floor, leads to nothing short of pure, adrenaline-pumping bliss. There’s a bloody “oner” sequence staged in a Viking village, an epic samurai battle unfolding across rooftops, and even a WWII dogfight for good measure, all culminating in a gladiatorial brawl for the ages on a distant world. And just when viewers might begin to tire of one particular tone or style, in comes a wildly different one to take full advantage of the medium’s boundless creativity. This is both franchise filmmaking done right and a reminder for studios to think outside the box. The end result is one of the finest, most exhilarating action movies of 2025. (Jeremy Mathai)

It’s downright shocking how long “Jurassic Park” and “Jurassic World” have maintained a stranglehold on the dinosaur movie sub-genre. Dinosaurs aren’t an IP; they’re ripe, historic fuel for sci-fi action cinema. Fortunately, director Luke Sparke realized that and has given the genre a shot in the arm with his no-hold-barred, completely ridiculous, oversized action epic “Primitive War.” It’s everything the “Jurassic” movies can’t be.

The film takes place during the Vietnam War and centers on a group of soldiers sent to an isolated jungle to try and locate a missing platoon. However, they quickly discover they are not alone … because these jungles are overflowing with dinosaurs. Action-packed pre-historic chaos ensues.

“Primitive War” is very much a low-budget affair, but Sparke manages to stretch every dollar, making it feel like $10 or even $20. The result is a downright audacious prehistoric monster film mixed with a self-serious, war B-movie. Taken as a whole, it’s one of the most outlandishly entertaining displays of action cinema one is likely to come across in 2025. There is truly nothing else like it out there. And for those worrying that the budget means Sparke had to skimp on the dinosaurs, think again.

The sheer number of dinos in this thing makes “Jurassic World Rebirth” feel cute by comparison. Far from an exercise in restraint, it’s a display of gleeful excess punching above its weight class at every turn. The human cast isn’t going home with any awards, but as Harrison Ford once said to Mark Hamill while making “Star Wars” back in the day, “Kid, it ain’t that kind of movie.” Strap in, and enjoy the wild ride. (Ryan Scott)

Paul Thomas Anderson isn’t usually the first name you would associate with blockbuster action filmmaking, but the propulsive energy of “One Battle After Another” shows him operating on a whole new level. From the calculated liberation of an immigration detention center to the French 75’s heart-pounding escape from a bank robbery gone sideways, this is the kind of film where the action sequences serve the characters every step of the way. It also features the kind of sound design that enhances the frightening weight of every car crash, gunshot, and explosion. In the first hour alone, there’s a helicopter tracking shot following Perfidia (Teyana Taylor), a reckless revolutionary of the French 75, in a foot chase through the streets and into a parking garage that had my heart racing. Indeed, there’s always some threat ready to emerge from right around the corner in this movie.

Even though the fiery protest of Baktan Cross transpires in the periphery of Bob (Leonardo DiCaprio) and Sensei’s (Benecio del Toro) mission to get out of town, it’s a crucial component of the film’s bubbling anger of governmental injustice. Similarly, the more intimate moments of the movie are exacerbated tenfold when PTA decides to kick it into high gear. “Like Tom f***ing Cruise,” Sensei says to the burnout revolutionary hanging on the outside of his car. And just when you think “One Battle After Another” can’t get any more exciting, it thrusts you into a spectacularly intense car chase on a long stretch of desert road. I felt like I was losing my mind witnessing the camera get so close to the pavement as it bobbed up and down like waves in the ocean. (Quinn Bilodeau)

Out of all the possible movie genre crossovers, action and musicals might be one of the rarest pairings. But if those two genres were going to cross over anywhere, it would be in director Ryan Coogler’s grand genre mashup “Sinners.” Principally a horror film about vampires laying siege to a juke joint, it’s also a period drama with steamy romance, action sequences, and a killer diegetic soundtrack.

“Sinners” even brings in heist movie elements, with the first act spent putting a team together for the launch night of the Smokestack Twins’ (Michael. B Jordan) new club. Once the sun sets at the end of that first act, ancient vampire Remmick (Jack O’Connell) begins recruiting for his own bloodsucking army, including siphoning off the juke joint’s staff. It all builds towards a chaotic showdown where the vampires finally pierce the threshold and all hell breaks loose: teeth, stakes, fire, and creative use of a musical instrument as a weapon.

Finally, as a tasty dessert, we get to watch Elijah “Smoke” Moore stage a one-man ambush for the Ku Klux Klan members who were planning a dawn ambush of their own. “Sinners” takes a while to build up to its big action set pieces, but that only makes them more satisfying when they arrive. (Hannah Shaw-Williams)

Superman has had plenty of time center stage. From gracing countless comic books to being a central focus of animated shorts, television shows, and an endless stream of franchise and crossover movies, the Man of Steel’s cinematic profile is prolific. So, even if you told me the illustrious James Gunn was at the helm of a Superman movie, my inclination was to raise an eyebrow, shrug, and get on with my life. I’m pretty sure I wasn’t alone — at least, not until July 11, 2025.

On that day, Clark Kent flew back into theaters as a rebranded entity, and in the process, he won over the hearts of a whole new generation of action hero fans. The recast character himself was expertly portrayed by David Corenswet, who brought a fresh level of humanity and relatability to the Earth-centric alien.

Gunn’s reboot movie didn’t stop there, either. The action-oriented support roles flat-out dazzled in this film. Nicholas Hoult was a very believable and compelling Lex Luthor. Nathan Fillion, Isabela Merced, Rex Mason, and María Gabriela de Faría were a riot as their super-powered characters. Even Krypto the Superdog got in on the action. Every part of this film’s action felt balanced, light-hearted, and surprisingly unique, considering it comes from a property where the action has been done to death in the past. It’s a rare feat, and a win if I ever saw one. (Jaron Pak)

The action genre, like any genre, goes through its peaks and valleys. You’d be forgiven for feeling like it’s been in a valley for a while — one that’s named “John Wick” after the massive amount of space that groundbreaking franchise has taken up since 2014. While a dozen or so mainstream action films have attempted (and mostly failed) to ride that property’s coattails, the DTV, international, and streaming worlds have seen a plethora of solid action movies get released over the last decade, and their influence on Hollywood action cinema may not be as attention-grabbing but is no less significant. One studio action film that felt like it could’ve come from the DTV world was 2016’s “The Accountant,” a movie that was part Robert Ludlum-style conspiracy thriller, part family drama with guns and explosions.

Almost a decade later, “The Accountant 2” dropped earlier this year with a large amount of the first film’s cast and crew returning. However, instead of merely being star Ben Affleck’s version of his buddy Matt Damon’s “Bourne” franchise, this sequel proved that there’s a lot of other avenues to explore in a world where syndromes can be a superpower and blood is thicker than water. Where the original film had more of a somber vibe, the sequel becomes a buddy action movie with the inclusion of Jon Bernthal’s Braxton as a co-lead, and the chemistry between him and Affleck’s Christian Wolff makes “The Accountant 2” feel like “48 HRS” by way of “Rain Man.” The film’s blend of character-based drama and gritty action allows it to stand out in a genre that’s maybe too often trying to top itself. “The Accountant 2” feels refreshingly pared back, with charming actors playing intelligent, no-nonsense people who kick ass and take names. It’s basic math! (Bill Bria)

Calling “Warfare” an action movie doesn’t feel quite right. After all, the purpose of most action cinema is to excite, delight, and thrill the audience with violence that is depicted at juuuust the right distance to allow it to feel like fantasy. No decent person wants to enjoy real violence. In this way, directors Alex Garland and Ray Mendoza challenge the very nature of the genre with this real-time war film, where every single beat and moment is directly taken from the memories of the men who survived the real ordeal that inspired the film.

After an intentionally agonizing first act depicts just how utterly boring war can be, the gunfire starts and then never stops. We find ourselves trapped in a single house alongside a squad of soldiers as they fight to survive an assault, with no back-up on the way. We witness acts of heroism and courage, but also acts of cowardice and malice. Garland and Mendoza don’t cast judgment — they simply depict one stressful gut-punch after another and allow the viewer to stew with their own thoughts.

That all of this happens under constant, seemingly never-ending gunfire (mixed to be loud and unpleasant and just plain scary) certainly makes “Warfare” an action movie. But it makes it an action movie that asks us why we enjoy action in the first place, as well as one that invites a direct comparison between reality and fictionalized versions of war seen in other movies. It’s a tough watch, but it’s one that any action aficionado interested in the language of cinematic violence, and how we respond to it, should seek out immediately. (Jacob Hall)