Empire Magazine’s annual Film of the Year selection rarely passes without debate, but this time the spotlight lands firmly on science fiction. The publication has crowned a big, ambitious sci-fi drama, signaling a moment when spectacle and emotional weight meet critical consensus.
The choice reflects a growing appetite for genre films that aim higher than visual wonder alone. In recent years, sci-fi has increasingly served as a vehicle for introspection, social tension, and human-scale storytelling wrapped in large ideas and striking imagery.
Their decision places this film within that evolving tradition, elevating it beyond blockbuster status. As year-end lists take shape, the selection hints at why this particular sci-fi drama resonated so strongly—and why its impact may linger well past awards season.
Sinners is The Film of the Year
In Empire Magazine’s annual roundup of the best movies of 2025, the vampire-inflected southern gothic drama Sinners emerges as one of the most highlighted films of the year, positioned alongside a diverse roster of critical favorites.
Michael B. Jordan in Sinners (Source: IMDb)
The list, part of Empire’s year-end feature covering cinema’s standout achievements, reflects a broader critical consensus that the movie has not only pushed genre boundaries but become a defining title in a year packed with ambitious filmmaking.
Directed and written by Ryan Coogler, Sinners blends historical drama, horror, and musical elements against the backdrop of 1932 Mississippi. The combination of stylistic daring and thematic depth has made the movie a frequent fixture on “best of 2025” lists from critics and outlets alike.
The film stars Michael B. Jordan in dual roles as twins Smoke and Stack, characters whose attempt to open a juke joint for their Black community becomes entangled with supernatural forces and pervasive racism.
Michael B. Jordan, Miles Caton and Jack O’Connell in Sinners (Source: IMDb)
Empire’s inclusion of Sinners at the top of its coverage — alongside other critically lauded films such as Hamnet and One Battle After Another — underscores the shifting terrain of contemporary cinema, where genre-blending works can transcend traditional categories to become cultural touchstones.
The film’s strong presence in year-end discussions echoes its broader reception, spanning critics’ awards attention, festival buzz and a growing reputation as one of the year’s most talked-about releases.
