In the short summer of 2025, instead of swimming in a pool, basking in the sun, or traveling the world, I sat comfortably down and paid attention to the arts. Cinema outweighed swimming; music trumped memories. My assistant editor and I knew that for the Western Hemisphere’s first issue, we had to be prepared. By watching movies until our eyes bled and listening to music until our ears fried, we experienced all that the summer had to offer, and are prepared to share the recap of the summer of ‘25.
Film
“Eddington”
“Hindsight is 2020.” Ari Aster’s latest film, “Eddington,” is a cautionary tale. What happens when truth dies? Who benefits? Aster’s vision, a Western set in the year 2020, attempts to answer these questions. Aster chooses not to have shootouts with guns, instead, he uses phones. Instead of characters chasing bounties, they chase power. “Eddington,” an homage to the smalltown cinema of the ‘70s and ‘80s (i.e. “The Last Picture Show”), also brings in Aster’s usual tropes, such as troubling mother characters and toxic masculinity. The two leads, played by Joaquin Phoenix and Pedro Pascal, complement each other perfectly, and are acted with such subtlety that they could be real people. Overall, due to its clever commentary and stunning visuals, “Eddington” stuns and makes for a fun watch as well. (5/5)
“F1”
The “dad flick” is back with “F1,” the latest from director Joseph Kosinski. Brad Pitt makes for a charming leading man and complements the impeccable sports cinematography of this film perfectly. The movie puts the audience right in the action, making races tense and crashes terrifying. Javier Bardem delivers one of the worst performances of the last few years, but his presence in the film adds to the overall entertainment. The dialogue in this film leaves something to be desired, but its corniness adds to the overall charm. Overall, “F1” is another ode to the blockbuster films of the 1980s by director Joseph Kosinski. While it is not “Oscar-worthy,” it is an action packed thrill ride. (4/5)
“Fantastic Four: First Steps”
The 2025 film “Fantastic Four: First Steps,” directed by Matt Shakman, is Marvel’s attempt to rectify their past mistakes from the previous FF movies. Shakman’s take on this team of unlikely heroes has not only done better in theaters, but has helped rid the Fantastic Four of the negative stigma it had retained from prior movies. While the plot was unnecessarily dragged out for almost two hours of screen time, its charmingly retro setting and style created a unique and interesting atmosphere for the four (now five) superheroes. Perhaps the best part of this film is the fact that it’s allowed people to get excited about Marvel films again. (4/5)
“The Phoenician Scheme”
Wes Anderson’s “The Phoenician Scheme” practically runs through a checklist of Anderson hallmarks, and the result is a pastiche at best. Its clever cinematography and lush setpieces can’t make up for stilted dialogue and a plot that feels inexplicably rushed despite its sluggish pacing. For sheer quantity of weirdness, this movie can’t be beat. However, in “The Phoenician Scheme,” Anderson’s quirkiness and auteur-ish air are more an obligation than a sincere artistic vision. (2/5)
“Sorry, Baby”
Something bad happened to Agnes. That’s the main idea of Eva Victor’s debut picture “Sorry, Baby,” a deeply poetic and subtly funny film that examines trauma, relationships, and young adulthood. Victor wrote, directed, and starred, all the while flawlessly executing every aspect of filmmaking. The cinematography displays the beauty of the Northeast college town the film is set in; the editing is tight and features some unconventional narrative pacing; and the acting is quietly devastating. This film is a treat, and shows a bright future for Victor. (5/5)
“Superman”
James Gunn’s 2025 “Superman” has changed the public’s perception of DC movies for the better. The Superman films have always been some of the better movies in the franchise, but almost all of them have one thing in common: they’re corny. Some people think that’s what gives them their charm, and others think that’s what ruins them. What makes Gunn’s version so great is that it still retains a bit of corniness, giving it that classic feeling of a Superman movie, but addresses it by having other characters contrast it. While Superman, or Clark Kent, has the same outrageously optimistic attitude towards life, others have a more pessimistic outlook. It really sets the tone for the entire film, and stresses that while he’s different from the people around him, he’s still very much human. (5/5)
“Together”
Body horror reaches new, twisted heights with “Together,” the latest from director Michael Shanks. Alison Brie and Dave Franco, who are married in real life, play a couple who go on a hike and interact with a mysterious substance that compels them to stick together. The film goes in wild directions, and features some of the best scares of the year. While “Together” ends up succumbing to horror tropes of today, that only slightly knocks its quality. Overall, “Together” is a fun horror that makes the audience squeal. (4/5)
“Weapons”
Zach Cregger’s “Weapons” is one of 2025’s most experimental films. Following the mysterious disappearance of a third grade class, Cregger utilizes multiple perspectives to thread his horror story together and reveal the overarching mystery. Julia Garner, who plays the teacher of the vanished class, delivers a realistic and raw performance that’s worth the watch. New ideas are few and far between when it comes to film, and that’s why “Weapons” is so refreshing. (4.5/5)
Music
“American Heart” (Benson Boone)
Benson Boone’s most recent album, “American Heart,” showed promise even before it was fully released. The single “Mystical Magical” took hold of many people’s minds with its catchy beat and lyrics, and became extremely popular on social media platforms like TikTok and Instagram. However, the album itself fell short, and didn’t gain the same amount of traction. It still has a few notable tracks, such as “Sorry I’m Here For Someone Else” and “Mr. Electric Blue,” but most of the songs lack the same sincerity that his past works. (2.5/5)
“Don’t Tap the Glass” (Tyler, the Creator)
Why can’t a star have a little fun sometimes? At the onset of his new effort, “Don’t Tap the Glass,” Tyler gives his listener three rules: body movement, leave your baggage at home, and don’t tap the glass, a reference to not being on a phone. “Don’t Tap the Glass” is a major shift from his last album, “Chromakopia,” in which he focused more on lyricism and storytelling, while on his latest record, Tyler embraces a dance style. The true standouts on this short, 28-minute tracklist are the opener “Big Poe,” featuring a stellar Pharrell feature, “Sucka Free,” and “Don’t You Worry Baby.” Overall, this is Tyler’s “GNX”: it’s time for dancing, not studying Genius annotations. (3.5/5)
“Let God Sort ‘Em Out” (Clipse)
The old heads are eating with this release. After 16 years, the hip-hop duo Clipse, composed of brothers Pusha T and Malice, have returned, and their latest effort, “Let God Sort ‘Em Out,” is their best record yet. Pusha and Malice’s vicious lyricism and hard-hitting beats are on full display on this album, highlighting their true talents on the mic. Producing the whole album is Pharrell Williams, a longtime collaborator of Clipse. The album contains fantastic features from an all-star cast of rappers including Kendrick Lamar, Tyler, the Creator, and Nas. The 13 song tracklist is incredibly consistent, but the three standouts are “The Birds Don’t Sing,” “Chains and Whips,” and “F.I.C.O.” Clipse is back, and this album shows their prowess. (5/5)
“Willoughby Tucker, I’ll Always Love You” (Ethel Cain)
This alternative/indie album by Hayden Silas Anhedönia, stage name Ethel Cain, is one of her best albums yet. Cain gained most of her popularity from her 2022 album, “Preacher’s Daughter,” which was a concept album that followed the life of the fictional character Ethel Cain. “Willoughby Tucker, I’ll Always Love You” is the latest installment of Cain’s fictional narrative, and tells the story of Cain’s romance with the title character. The album is about love and loss, and has a soft and sentimental sound that pulls at the heartstrings. While most of the tracks are slow and long, the lyrics and intent are poetic and beautiful. With tracks like “Nettles,” that explores the meaning of death and how it impacts others, and “Tempest,” which tries to explain the complexities of trauma and its difficulties, this album has reinvented how the darker things in life are expressed. (5/5)
Photo credit, from left to right: DC Studios, A24, New Line Cinema, Marvel Studios, Columbia Records, Night Street and Warner Records
