I didn’t spend much time this year looking for comfort at the movies. I was drawn to stories that felt uneasy, patient, and unresolved — films more interested in consequence than catharsis. The kind that don’t rush to reassure you, and don’t pretend complexity can be wrapped up cleanly before the credits roll.

What I responded to most were movies willing to sit in the darker corners: inheritance, guilt, ambition, silence, and the quiet systems that shape people long before anyone makes a “bad” decision. These weren’t films about shock for shock’s sake. They were about what happens when pressure builds slowly, when accountability gets deferred, and when people convince themselves they’re only bystanders.

This year, movies followed the same path while taking different roads to arrive. Here are my top five movies of the year 2025. 

Sinners

Summary:
Sinners follows a group of people pulled into a confrontation with an ancient, malevolent force rooted in legacy, bloodlines, and buried history. What begins as survival horror slowly reveals itself as something more psychological — a story about what communities inherit, suppress, and refuse to name, even as it consumes them.

Rather than racing toward answers, the film lingers in uncertainty, allowing dread, guilt, and inevitability to shape every decision its characters make.

The Moment:
Not a jump scare. Not the violence.
It’s the stillness before people realize what they’re dealing with — that pause where survival instincts kick in but morality hasn’t caught up yet.

The Feeling:
Dread layered with familiarity.
Like the past showing up uninvited, confident it still knows you.

Why It Stayed:
Sinners isn’t really about monsters — it’s about inheritance.
What gets passed down. What gets buried. What keeps feeding even when nobody wants to name it.

In a year where culture kept pretending history was optional, this movie refused to let anyone move on without reckoning.

Cultural Footnote:
A lot of people talked about what the movie was.
Fewer talked about why it felt inevitable.

One Battle After Another

Summary:
One Battle After Another follows a man navigating the long aftermath of conflict — not the fight itself, but the years that come after when the war is supposedly over. As personal relationships fray and old wounds resurface, the film interrogates what it actually means to “move on” when the past keeps demanding new versions of the same fight.

It’s a story less concerned with victory than with endurance, tracing how unresolved battles quietly reshape identity, intimacy, and belief.

The Moment:
When it becomes clear the fight isn’t external anymore — it’s internal, and it’s been there the whole time.

The Feeling:
Exhaustion without defeat.
Like realizing you’re tired not because you lost, but because you never stopped bracing yourself.

Why It Stayed:
Because One Battle After Another understands something a lot of films avoid:
Survival isn’t closure. It’s continuation.

In 2025, a year where everyone talked about “healing” like it was a destination, this movie treated it like a process — uneven, circular, and unfinished.

Cultural Footnote:
Some people wanted this to be about the conflict.
It was really about the residue.

Knives Out: Wake Up Dead Man

Summary:
Knives Out: Wake Up Dead Man drops Benoit Blanc into another carefully arranged mess — a death wrapped in wealth, performance, and misdirection. As always, the mystery isn’t just who did it, but who benefits from the confusion. The film uses its whodunit framework to examine power, ego, and the lies people tell themselves when money insulates them from consequence.

The plot moves briskly, but the real work happens in the margins — in what characters reveal when they think they’re smarter than everyone else.

The Moment:
When the mystery stops being clever and starts being obvious — and you realize the film has been daring you to underestimate it the entire time.

The Feeling:
Amused, then quietly indicted.

Why It Stayed:
Because Wake Up Dead Man understands that satire works best when it lets people laugh before they recognize themselves.

In a year full of performative outrage and selective morality, this movie trusted the audience to connect the dots — and didn’t rush to absolve anyone.

Cultural Footnote:
Some dismissed it as “another Knives Out.”
That was the point. Repetition is the theme.

Opus

Summary:
Opus follows a young writer drawn into the orbit of a legendary, reclusive artist whose influence still looms large despite years of silence. What begins as an opportunity — access, proximity, validation — slowly becomes something more destabilizing as admiration curdles into control. The film examines the power imbalance between creators and gatekeepers, and the cost of proximity to genius when the rules are never stated out loud.

It’s a psychological thriller disguised as a character study, more interested in tension than revelation.

The Moment:
When you realize the silence isn’t emptiness — it’s strategy.

The Feeling:
Claustrophobic respect.
Like knowing you’re in the presence of something important, but not knowing what it’s taking from you in exchange.

Why It Stayed:
Because Opus understands a specific modern fear:
That success might require shrinking yourself to fit inside someone else’s mythology.

In 2025 — a year obsessed with platforms, proximity, and co-signs — this movie asked a dangerous question:
Who benefits from your belief?

Cultural Footnote:
A lot of the conversation centered on the performances.
Not enough lingered on the warning.

Weapons

Summary:
Weapons unfolds around a disturbing mystery involving missing children and a community desperate for explanations. What initially presents itself as a puzzle slowly fractures into something more unsettling — a portrait of collective denial, misplaced blame, and the quiet violence embedded in systems meant to protect. The film refuses to offer a single villain, instead exposing how harm compounds when fear, authority, and silence overlap.

Rather than solving the mystery outright, Weapons forces the audience to sit with what happens when everyone is partially responsible — and no one wants to be accountable.

---

The Moment:
When the film stops asking what happened and starts asking why nobody stopped it.

The Feeling:
Unease without release.
Like realizing the danger wasn’t the act itself — it was the environment that allowed it.

Why It Stayed:
Because Weapons understands that violence isn’t always loud.
Sometimes it’s procedural. Sometimes it’s inherited. Sometimes it looks like routine.

As a closer, it works because it doesn’t resolve the year — it reveals it. After legacy, endurance, exposure, and ambition, this film lands on the hardest truth of all:
Participation doesn’t require intent. Only silence.

Cultural Footnote:
Some viewers wanted answers.
The movie wanted accountability.

Looking at these five movies together, it’s clear I wasn’t drawn to spectacle or escape this year. I gravitated toward stories that sat in the darker corners — not because they were bleak, but because they were honest.

Each film wrestled with a different version of consequence. Sinners explored inheritance and the things we pretend we’ve outrun. One Battle After Another examined the exhaustion of carrying unfinished fights. Knives Out: Wake Up Dead Man used humor to expose how easily power hides in plain sight. Opus questioned the price of proximity and ambition. And Weapons forced a reckoning with collective silence.

What connects them isn’t darkness for its own sake — it’s accountability. These weren’t movies about evil people; they were movies about systems, environments, and choices that compound quietly over time. They asked uncomfortable questions and refused to tidy up the answers.

If this list says anything about my year, it’s that I wasn’t looking to be distracted. I was looking to understand. To sit with complexity. To recognize where responsibility lives — even when it’s inconvenient.

Rap didn’t spend 2025 trying to save itself.

And honestly, that might be the most important thing it did all year.

There was no consensus album. No undisputed champion. No moment where everyone agreed to stop what they were doing and point in the same direction. And if that feels uncomfortable, that’s because we’ve been trained to confuse dominance with health. Sometimes the loudest years are the weakest ones. Sometimes the quiet years are just rap catching its breath.

2025 sounded like artists who already knew who they were.

This wasn’t a year about chasing the algorithm or begging the timeline to care. It was about posture. About people making albums that didn’t explain themselves twice. Veterans didn’t cosplay youth, and younger rappers weren’t in a rush to declare themselves legends before lunch. The music didn’t sprint. It walked. And it trusted that if you were paying attention, you’d keep up.

That’s the thread running through this list.

These aren’t the albums that won Twitter for 48 hours or dominated playlists out of obligation. These are the ones that stayed with you. The projects that sounded better once the initial noise died down. The albums that didn’t need a viral moment because they were built to age, not spike.

Que The Wrap Up Music: Best Rap Albums of 2025 isn’t here to start arguments. It’s here to document what held up. What sounded intentional. What felt like artists comfortable standing still while everything else kept moving.

Because when the dust settles, rap doesn’t get judged by who yelled the loudest.
It gets judged by who still sounds right when nobody’s arguing anymore.

Let God Sort ’Em Out — Clipse

This album doesn’t sound like a comeback. That’s the point.

Let God Sort ’Em Out moves with the confidence of artists who never had to reintroduce themselves. No throat-clearing. No “back like we never left” press-release energy. Just two voices that understand time didn’t dull their edge—it clarified it.

Clipse aren’t chasing the present. They’re standing still and letting the moment walk up to them.

What makes this album land in 2025 isn’t nostalgia—it’s restraint. The beats breathe. The verses don’t rush. There’s no panic about relevance, no nods to trends that would age out by summer. Pusha T and Malice rap like men who already know the ending, so they’re focused on telling the truth cleanly on the way there.

That’s the grown-man flex most rap still hasn’t learned.

Lyrically, the album isn’t louder than today’s rap landscape—it’s sharper. Every bar feels placed, not stacked. The writing trusts the listener to keep up instead of explaining itself twice. And in a year where so many projects felt engineered for engagement, Let God Sort ’Em Out feels deliberately uninterested in applause.

That disinterest is power.

Culturally, this album mattered because it reminded people what authority sounds like. Not volume. Not visibility. Authority. Clipse don’t need to tell you they’re elite—you hear it in the pacing, the economy of words, the refusal to overperform.

In a rap year full of motion, Clipse stood still and let gravity do the work.

That’s not old-head energy.
That’s timeless.

Everything Is a Lot — Wale

This is the most honest Wale has sounded in years — maybe ever.

Everything Is a Lot isn’t chasing the version of Wale that fans argue about online. It doesn’t want to be backpack-approved or radio-friendly. It sounds like an artist finally accepting that being misunderstood is part of the job — and choosing clarity over correction.

There’s a quiet exhaustion baked into this album. Not burnout, but awareness. Wale raps like someone who’s done trying to win every room and is instead focused on telling the truth in the one he’s standing in. The writing is reflective without being soft, personal without begging for sympathy.

This isn’t therapy rap. It’s inventory.

What makes this album land in 2025 is how grounded it feels. While a lot of rap still leans on spectacle, Everything Is a Lot leans inward. The production gives Wale space instead of spectacle — beats that support the words rather than compete with them. Nothing flashy, nothing forced. Just enough room to let the thoughts land.

And Wale’s pen? It’s still sharp. He’s always been one of rap’s better writers, but here he’s more selective. Less showing off. More precision. He knows when to stop talking — a skill many never learn.

Culturally, this album matters because it reframes Wale’s place in rap. Not as a “what could’ve been” or a misunderstood talent, but as a veteran who stayed present long enough to tell his story correctly. No reinvention. No rebrand. Just perspective earned the hard way.

In a year where rap often sounded overstimulated, Everything Is a Lot felt human.

Not every album needs to dominate the conversation.
Some just need to tell the truth while the noise passes by.

This was one of those albums.

Am I the Drama? — Cardi B

This album understands something most pop-rap conversations still get wrong:
Cardi B was never the distraction — she was the subject.

Am I the Drama? doesn’t waste time defending Cardi’s presence in rap. It interrogates it. Fame, backlash, visibility, motherhood, money, the performance of confidence — all of it gets pulled into the light without apology or polish. Cardi isn’t asking to be taken seriously. She’s daring you to keep up.

And that distinction matters.

What makes this album hit in 2025 is how self-aware it is without becoming self-conscious. Cardi leans into the chaos people project onto her, flips it, and makes it fuel. She understands how she’s perceived — the memes, the think pieces, the dismissal — and instead of dodging it, she uses it as structure.

This isn’t reinvention. It’s confrontation.

Sonically, the album moves with purpose. High-energy records feel intentional, not obligatory. The quieter moments don’t soften her image — they sharpen it. Cardi’s voice carries weight here because she knows exactly when to be loud and when to let silence do the work. That control is growth, even if it doesn’t wear the costume people expect.

Culturally, Am I the Drama? mattered because it reframed the conversation around Cardi B entirely. Not as a personality who happens to rap, but as an artist fully aware of the stage she’s on — and who built the stage to begin with. The album doesn’t ask for approval from rap’s gatekeepers. It documents survival inside a spotlight that rarely shuts off.

In a year where many artists were trying to escape narratives,
Cardi B owned hers and bent it into shape.

If that’s drama, then yes —
she is.

God Does Like Ugly — JID

JID didn’t spend 2025 trying to convince anyone he could rap.
That debate has been over.

God Does Like Ugly feels like the moment where technical excellence stops being the headline and starts being the baseline. The flows are still elastic. The cadence still darts and bends in ways most rappers can’t track. But what stands out this time is intention — every verse sounds like it knows exactly why it’s there.

This isn’t a showcase. It’s a statement.

What separates this album from earlier JID projects is restraint. He leaves space. He doesn’t stack bars just to prove density. The album trusts pacing, tone, and theme in a way that signals maturity rather than hunger. JID raps like someone who understands that longevity isn’t about being the best rapper in the room — it’s about being the most consistent presence in it.

There’s an underlying tension throughout the album: beauty versus damage, faith versus reality, ambition versus cost. JID doesn’t resolve those contradictions — he lets them live. That discomfort gives the album weight. It sounds like a man aware of his gifts and equally aware of the responsibility they carry.

Culturally, God Does Like Ugly mattered because it reaffirmed a lane that often gets ignored: lyrical rap that doesn’t apologize for being challenging. No simplifying. No trend-hopping. Just craft, sharpened and focused, delivered with clarity instead of flash.

In a year full of noise,
JID made precision feel loud.

Not because he raised his voice —
but because he didn’t have to.

Alfredo 2 — Freddie Gibbs & The Alchemist

This album didn’t need a sequel.
Which is exactly why it works.

Alfredo 2 doesn’t chase the lightning-in-a-bottle energy of its predecessor. It assumes you already know what time it is. Freddie Gibbs and The Alchemist move like collaborators who trust the process enough to strip the performance out of it. No victory laps. No nostalgia bait. Just two veterans refining a language they already speak fluently.

Alchemist’s production is cold, patient, and cinematic. Every beat feels like it’s watching Gibbs instead of chasing him. There’s space for tension to sit. Silence becomes part of the rhythm. The soundscape doesn’t demand attention — it earns it.

And Freddie? This is late-stage confidence. The urgency is gone, replaced by control. He’s not rapping to survive anymore — he’s rapping to document. The bars still cut, but now they feel measured, intentional. Like a man who understands that credibility compounds over time.

What makes Alfredo 2 land in 2025 is how unconcerned it is with speed. In a year where rap often felt rushed, this album moved deliberately. It trusted atmosphere. It trusted tone. It trusted the listener to sit with it.

Culturally, this project mattered because it reaffirmed something important: the underground doesn’t need to reinvent itself every year. It just needs to stay honest. Alfredo 2 isn’t chasing relevance — it’s preserving lineage.

In a rap year obsessed with momentum,
Freddie Gibbs and The Alchemist chose patience.

And patience, in 2025, sounded radical.

65

Let's be real, 2016 has been one big pile of hot dog shit. I'm talking about the type that you step in, earlier in the morning while the grass still has the wet from the mist the sunrise brings. You step in it with the brand new slippers that you just got in the mail the day before. They're ruined. You can clean it off, you can dry clean it. It doesn't help. That shit is forever on your mind, even washed away. It will never be the stay. That's 2016 in a nutshell.
 I have no other way of putting this. It started with Bowie and ended with Sager. May they both rest in peace. In the middle of this, Donald Trump became president of the free world. Yeah, I still can't believe that happen either. Actually, I can. Since this is, nevermind.


One thing that will remain the same, is that great content will forever be given to us. Hopefully it will be forever given to us. I don't want to jinx it. This year haven't been any different. I have been fighting myself on this list. I wanted to piece this together as best as I can. I put all the feels and hype aside, I pick the content, not the person. Enjoy. 


  
How talented can one person be? Atlanta is not only ambiguous and ambitious but it embodies the whole persona of Atlanta. Outsiders might not get it but trust me this is the South. Seen through the eyes of an Princeton dropout. Enjoy this journey with us just don't touch my JR Crickets wet lemon pepper wings. 





She bears no name but the poetry bouncing off the beats, screaming the echoes of disbelief that your ears are done this pleasure. 


  
The smooth melodic sound that clashes with the edge that is the Funkadelic vibe.

Let me stop wasting time. I know why you here.


21. Power  

The series follows James St. Patrick, nicknamed "Ghost," owner of a popular New York City nightclub. In addition, he is a major player in one of the city's biggest illegal drug networks. He struggles to balance these two lives, and the balance topples when he realizes he wants to leave the drug ring in order to support his legitimate business, and commit to his mistress.

This just might be too low in the ranking for such a show. Power packs the Power but I need more. I need more episodes. 
 
20. Longmire
 
This was a trick one. I found Longmire thru a friend and binge watched all four season over the time of two months. Is that even binging? So I can't really break apart rather season four should have this way ranked higher. I just know that Longmire should be on the list. 

 Longmire  is based on the Walt Longmire Mysteries series of mystery novels written by best-selling author Craig Johnson.
The show centers on Walt Longmire, a Wyoming county sheriff who returns to work after his wife's death. Assisted by his friends and his daughter, Longmire investigates major crimes within his jurisdiction, while campaigning for re-election against one of his own deputies.



 
19. Game Of Thrones

The series is set on the fictional continents of Westeros and Essos, and interweaves several plot lines with a large ensemble cast. The first narrative arc follows a civil war among several noble houses for the Iron Throne of the Seven Kingdoms; the second covers the attempts to reclaim the throne by the exiled last scion of the realm's deposed ruling dynasty; the third chronicles the rising threat of the impending winter and the legendary creatures and fierce peoples of the North.


18. Mad Men

This is the last year that Mad Men can make this list. Normally in any shows last season, it sucks. I think we can be real about it. The shows just suck. Looking at you 'How I Met Your Mother'. I point to the area of sucking being the fact that they do too much. They try and wrap everything. Like I mean anything. Mad Men wrapped up just enough. 

Mad Men is set primarily in the 1960s, initially at the fictional Sterling Cooper advertising agency on Madison Avenue in New York City, and later at the newly created firm, Sterling Cooper Draper Pryce (later Sterling Cooper & Partners), located nearby in the Time-Life Building, at 1271 Sixth Avenue. According to the show's pilot, the phrase "Mad men" was a slang term coined in the 1950s by advertisers working on Madison Avenue to refer to themselves, a claim that has since been disputed. 

Don Draper (Jon Hamm) is featured in the series, initially as the talented creative director at Sterling Cooper and later a founding partner at Sterling Cooper Draper Pryce, and the people in his personal and professional lives.


 
17. Unbreakable Kimmy Schmidt 

I said it once, I'll say it again. Netflix is putting out the best shows. They have the strongest network. UBKS helps in keep the strongest going. The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life in New York City after her rescue from a doomsday cult in Indiana where she and three other women were held by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years. Determined to be seen as something other than a victim and armed only with a positive attitude, Kimmy decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for the melancholy and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski). With their help, Kimmy struggles to adapt to an unfamiliar world and jump-start the adult life that had been taken away from her.



 16. Orange is The New Black

Speaking of Netflix. OITNB  is based on Piper Kerman's memoir, Orange Is the New Black: My Year in a Women's Prison (2010), about her experiences at FCI Danbury, a minimum-security federal prison.



15. His & Hers 
At first I wasn't going to put any sports shows on the list. It didn't seem right. After thinking about it, I have this. When you watch something, you watch in the hope of it being the best it can be. His and Hers does just that. Nothing is left on the table. Sometimes too much for live TV. Shoutout Mike and that 'Shit' bomb he dropped live on air. In his defend, it was some stupid shit. The show is such a refreshing sixty minutes of the day, when looked at from the scope that is sports shows regular format.

His & Hers is a sports discussion show hosted by Michael Smith and Jemele Hill; it is televised by ESPN2 as part of its weekday lineup of studio programs. Originally premiering as the statistics-oriented program Numbers Never Lie, the program soon dropped its focus on metrics and became a statistics-based sports discussion program, leading to its eventual re-branding in November 2014.



14. Highly Questionable


Highly Questionable (abbreviated HQ) is a daily sports talk television program that airs daily on ESPN at 4:30 PM Eastern. Created as a vehicle for Miami Herald sportswriter and ESPN contributor Dan Le Batard, who also hosts his own radio show for the network, the show premiered on September 12, 2011. From its premiere until May 2013, the show bore Le Batard's name and was called Dan LeBatard Is Highly Questionable, and from its premiere until March 25, 2015 the show aired on ESPN2 at 4:00 PM Eastern. The program is based in Le Batard's hometown of Miami, Florida and was created by the same people behind Pardon the Interruption, which Le Batard has appeared on multiple times as a substitute host.



13. The Leftovers

The Leftovers takes place three years after a global event called the "Sudden Departure", the inexplicable, simultaneous disappearance of 140 million people, 2% of the world's population, on October 14. Following that event, mainstream religions declined, and a number of cults emerged, most notably the Guilty Remnant.

The story focuses primarily on the Garvey family and their acquaintances in the fictional town of Mapleton, New York. Kevin Garvey is the Chief of Police. His wife Laurie has joined the Guilty Remnant. Their son Tommy has left home for college, and their daughter Jill is acting out.  The second season moves the main characters to the fictional town of Jarden, Texas.


12. Fargo

Fargo is an American black comedy–crime drama anthology television series created and primarily written by Noah Hawley. The show is inspired by the 1996 film of the same name written and directed by the Coen brothers, who serve as executive producers on the series. It premiered on April 15, 2014, on FX.  Each season follows an anthology format, being set in a different era along with a different story, cast and set of characters.

 

 
11.Sole Man  
Sonny Vaccaro is one of the sports world's most charismatic, polarizing and influential figures. Now 75, he is still a fast-talking maverick whose zeal for basketball, advocacy for underprivileged kids, and instinct for sales forged an era of unprecedented growth for two pillars of pop culture: basketball and sneakers.


10.  Inside The NBA
I went from having no sports shows to three. Inside the NBA is so good that I will something not even much the game that night. Just the post game show. It's that great.

Inside the NBA is the postgame show for NBA on TNT broadcasts. The program features host Ernie Johnson with analysts Charles Barkley, Kenny Smith and Shaquille O'Neal. Occasionally, Johnson, Smith, Barkley, and O'Neal are joined by analysts Chris Webber and Grant Hill. The show has won nine Emmy Awards, Ernie has won three as a studio host and Charles Barkley has won two as a studio analyst.




 
9.  Silicon Valley 
Silicon Valley is an American television comedy series created by Mike Judge, John Altschuler and Dave Krinsky. The series focuses on six young men who found a startup company in Silicon Valley




 8. Rand University
 Randy Moss has long been an enigma known for his brilliance on the football field and his problems off it. Sometimes there's even been an intersection of those two qualities. "Rand University" gets to that crossing by going back to where he came from - Rand, West Virginia - and exploring what almost derailed him before he ever became nationally known for his extraordinary abilities as a wide receiver.


After overcoming troubles with the law, losing the opportunities to play at Notre Dame and Florida State and then reviving his enormously promising football career at Marshall University, all that was good and troubling about Randy Moss materialized on the day of the 1998 NFL Draft. Twenty picks were made before the Minnesota Vikings selected him in the first round. Based on what unfolded throughout Moss's NFL career, the teams that passed on him may have had a mixture of regret and relief.


7.  Masters Of None
Master of None is an American comedy television series, which was released for streaming on November 6, 2015 on Netflix. The series was created by Aziz Ansari and Alan Yang, and stars Ansari in the lead role of Dev, a 32-year-old actor who attempts to make his way through life in New York City. The first season consists of 10 episodes. The show's title alludes to the figure of speech, "Jack of all trades, master of none" but was originally suggested by Ansari and agreed with Yang;  they later incorporated a song of the same name by Beach House.
  
6. Veep
Veep is an American HBO political comedy television series, starring Julia Louis-Dreyfus, set in the office of Selina Meyer, a fictional Vice President, and subsequent President, of the United States. The series was created by Armando Iannucci, who created the British political comedy series The Thick of It, and also wrote and directed that series' film spin-off In the Loop (2009), all of which feature the same writing staff.

 
5. Fresh Of The Boat
Fresh Off the Boat is a comedy series starring Randall Park, Constance Wu, and Hudson Yang that is loosely inspired by the life of chef and food personality Eddie Huang and his book Fresh Off the Boat: A Memoir. It is the first American television situation comedy starring an Asian-American family as protagonists to air on network primetime since Margaret Cho's All American Girl, which aired for one season in 1994



4.Black- Ish  
 Black-ish (stylized as blackish) is an American sitcom starring Anthony Anderson and Tracee Ellis Ross, that debuted on ABC. The single-camera comedy centers on an upper-middle-class African-American family
 
3. Narcos
Narcos is an American crime drama television series that first aired on August 28, 2015, on Netflix. The series was created by Chris Brancato, Carlo Bernard and Doug Miro, and directed by Brazilian filmmaker José Padilha. It is a serialized portrayal of drug kingpin Pablo Escobar and the Medellín Cartel, as well as United States Drug Enforcement Administration (DEA) agents.


 2. Halt And Catch Fire
Halt and Catch Fire is an American period drama television series created by Christopher Cantwell and Christopher C. Rogers, that premiered on AMC on June 1, 2014. The series is set in the Silicon Prairie of Texas, starting in 1983, and depicts a fictionalized insider's view of the personal computer revolution. The show's title refers to computer machine code instruction HCF, the execution of which would cause the computer's central processing unit to stop working ("catch fire" was a humorous exaggeration).


1. Better Call Saul   
 Better Call Saul is an American television drama series created by Vince Gilligan and Peter Gould. It is a prequel/spin-off of Breaking Bad, which was also created by Gilligan. Set in 2002, Better Call Saul follows the story of small-time lawyer James Morgan "Jimmy" McGill (Bob Odenkirk), six years before his appearance on Breaking Bad as Saul Goodman; events after the original series are briefly explored.

6. Dope 
  Bumping with an emphatic fuse of nostalgic-90s-vibes mixed with a new-generation-essence, Dope is a infectious blend of entertainment. The satire, direction and visuals are just a few of the striking chords of this modern-day coming-of-age film that make this an underrated, overnight success - Eugene Bernabe

Dope is a 2015 American crime comedy-drama film written and directed by Rick Famuyiwa and starring Shameik Moore, Tony Revolori, Kiersey Clemons, Kimberly Elise, Chanel Iman, Tyga, Blake Anderson, Zoë Kravitz, and A$AP Rocky. The film was produced by Forest Whitaker, executive produced by Pharrell Williams, and co-executive produced by Sean Combs.

 A critical hit and audience favorite out of the Sundance Film Festival, in DOPE, Malcolm (Shameik Moore) is carefully surviving life in a tough neighborhood in Los Angeles while juggling college applications, academic interviews, and the SAT. A chance invitation to an underground party leads him into an adventure that could allow him to go from being a geek, to being dope, to ultimately being himself.


Creed is a crowd-pleaser, an effective character drama, and a rewarding continuation into the Rocky franchise that brings greater relevancy to Sylvester Stallone's acting muscles. Thanks to the talents of co-writer/director Ryan Coogler (Fruitvale Station) and star Michael B. Jordan, the franchise is given new life by mostly following the same tried-and-true underdog formula that Stallone helped cement long ago. Jordan plays Adonis Creed, the illegitimate son to the deceased boxing legend, and he wants to make his way on his own merits. Adonis tracks Rocky (Stallone) down and convinces him to be his trainer, and the two build a father-son relationship supplying the half the other was sorely missing. 

Easily the best Rocky sequel, Creed is an uplifting underdog tale that doesn't reinvent the formula but brings added attention, reverence, and sincerity to a whole lot of punching people in the face.- Nate Zoebl



1.Tie. Beast OF No Nation 

In an unknown place in the world, and after the loss of his family, young Agu runs off only to find a clan of young ones lead by a Commandant. As they teach him to hold his own in the war and kill, the raw human emotion begins to leap off the screen. This Netflix released picture really shows that they know how to find quality content for their streaming service, because at one point this film was being considered for Oscar buzz. Not only is this a powerful story, but Idris Elba really makes you believe this clan exists and the way he forces his kids to do things is brutally realistic. - KJ Proulx

The movie is an effective nightmare, and a solid piece of filmmaking, strong enough to make you wish that it could have borne the full weight of the tragedy it set out to depict.  Full Review