Here is my opinion on the
films and series of 2025

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S-Tier – Top of the Top

• The Bondsman (S01)
  The Fall Guy from Hell. A strong, original basic idea with a dense atmosphere and a raw, consistent tone. The execution is consistently exciting, visually coherent, and carries the central antihero excellently. This makes the abrupt ending all the more bitter: the brutal cliffhanger cries out for resolution—but instead, the series was simply canceled. An S-tier despite its frustrating conclusion.
• Frankenstein
  Modern, dark, and surprisingly emotional. This reinterpretation combines classic horror elements with contemporary themes such as guilt, responsibility, and identity. The production is stylish, at times oppressive, and visually powerful throughout. This is not a sensationalist remake, but a serious, courageous further development of the material.
• Gen V (S02)
  „Top of the Top“ really is the perfect description. The second season is even more intense, harder-hitting, and narratively more precise than S01. Characters have to face real consequences, moral gray areas are consistently explored, and character development reaches a new level. Bold in content, emotionally powerful.
• K‑Pop Demon Hunter
  With a heavy heart, but fully deserved in the S tier. Story, character dynamics, humor—everything is just right. And the songs have stuck in my head—unfortunately.
• Leviathan
  Alternate World Great War: Steam/dieselpunk meets biopunk! The world not only looks exciting on paper, but feels alive, dirty, and dangerous in every scene. The production design is outstanding, the technology is as fascinating as it is disturbing, and the atmosphere carries consistently throughout the entire plot. Worldbuilding at the absolute highest level.
• In the Lost Lands
  Mad Max apocalypse meets the Inquisition, witches, and werewolves—plus a story penned by George R. R. Martin. At first, the mix sounds completely over the top, but it unfolds with enormous impact thanks to powerful images, a dense atmosphere, and surprisingly clear narrative structures. Visually impressive, thematically dark, and overall astonishingly cohesive.
• South Park (S27/S28)
  By far the strongest seasons of the entire series—even after all these years. Spot-on humor, razor-sharp social satire, bold, irreverent, and frighteningly topical. Hardly any other animated series manages to dissect the zeitgeist, politics, and pop culture so consistently.
  Only the ending of S28 could have been a little better – but that’s just nitpicking. 
• Spartacus: House of Ashur (-S)
  Up to and including E05, very strong—an excellent continuation of the Spartacus series, delivering exactly the tonal harshness, intrigue, violence, and eroticism you would expect (blood and tits included). The only slight downside: so far, there are too few real arena fights. That’s why (for now) it’s only an -S-tier.

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A-Tier – Above average

This is what good entertainment should be like—but there is always room for improvement (see above).

• Knights of Guinevere (S01E01) (+A)
  An original, cheeky basic idea with a wonderfully irreverent broadside against Disney. The opening is pointedly written, visually strong, and hits the satirical tone almost perfectly. Unfortunately, the extremely long wait for the second episode noticeably dampens the overall impression—which is why it doesn’t (yet) get a full S rating, but rather a +A.
• The Bad Guys 2
  Entertaining, charming, and visually impressive once again—but noticeably weaker than the first installment. Most of the jokes still land, but they don’t quite hit the mark as well as before. This time around, the plot seems less focused and, at times, a little formulaic. It’s not a bad movie, but part one was clearly better.
• Blood of Zeus (S03)
  A very strong conclusion to an overall impressive mini-series. The action is powerful, the epic staging is consistently executed, and the major conflicts are given a well-rounded, emotional finale. Not every character is given the depth that could have been possible—but overall, it’s a worthy and powerful conclusion to the series.
• Fear Street: Prom Queen
  I don’t usually like high school bully movies (too close to home), but this film is almost too good. The 80s look, music, camera work, atmosphere – everything is perfect. The slasher elements are also great: typical 80s, but with better effects. If the second twist hadn’t been hinted at too early, it would be S-tier—as it is, only +A.
• Grimsburg (S02)
  The second season remains surprisingly strong and confirms the good impression made by S01. Bizarre characters, wonderfully absurd cases, and idiosyncratic black humor carry every single episode. The mixture of crime parody, character comedy, and grotesque overkill continues to work amazingly well.
• Harley Quinn (S05)
  Not quite as brilliant and biting as it was at the absolute peak of the series, but still cheeky, playful, and creatively chaotic. The jokes are mostly still funny, the chemistry between the characters is right, and individual episodes repeatedly show why the series used to be one of the absolute highlights of the genre. No longer at its peak—but still definitely worth watching.
• Invincible (S03)
  Another almost perfect season—emotionally powerful, uncompromisingly brutal, and with noticeably mature character development. Many characters have to face real consequences, which adds extra depth to the series. Slightly weaker than S02, but still clearly A-tier with a distinct S-tendency.
• Jentry Chau vs The Underworld
  Stylish, fast-paced, and full of creative ideas—a real highlight in terms of visuals and tempo. However, the series is significantly overloaded with twists and turns. Almost all of the „villains“ are more like misunderstood antiheroes, which ultimately dilutes the clear conflict structure and detracts from the suspense.
• Predator: Killer of Killers
  The best Predator film since 1990: raw, atmospheric, straightforward storytelling, and full of respect for the original. The hunt is clearly the focus, without any unnecessary baggage—almost exactly how a modern Predator should be. Only the WWII episode could have been better.
• SolarOpposite (S06) (The Wall )
  For years, this storyline has been one of the most emotionally powerful, consistent, and dramatically exciting elements of the entire series. – Please finally turn it into its own series.
• Tomb Raider: The Legend of Lara Croft (S02) (-A)
  Just like season 01, this is a solid and respectful adaptation of the game. It would work well as a game: clear structure, familiar set pieces, familiar tone. But it’s just Tomb Raider strictly according to the checklist. ‑A-tier.
• The War Between the Land and the Sea
  A very successful Doctor Who spin-off set in the UNIT universe. The story is exciting, thematically interesting, and very solidly executed, with convincing effects and a good atmosphere. Unfortunately, the miniseries feels a little too drawn out in places.
• The Witcher: Sirens of the Deep (+A)
  „The Little Mermaid – Witcher style“ Dark, atmospheric, and emotionally much stronger than expected. The animation is high quality, the music perfectly matches the mood, and the melancholic undertone fits perfectly with Geralt’s world. Overall, a well-rounded, impressive picture with unexpected emotional depth.

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B-Tier – Well, average

Entertaining, but nothing that really sticks in your mind or makes you want to watch it again.

• Big Mouth (S8)
  A disappointing, lackluster finale for a series that once started out brilliantly and boldly. The early seasons thrived on provocative humor, honest awkwardness, genuine vulnerability, and an unusually sensitive coming-of-age perspective. Season 8, on the other hand, seems uninspired, indecisive, and wrung out, which is particularly painful for a series with such a strong foundation.
• How to Train Your Dragon (2025)
  The original animation was good—and this live-action version is almost a 1:1 reconstruction of it (story, visual language, camera angles, timing—really everything). The result: technically solid, but completely uninspired. No new approach, no style of its own, no courage to develop further. This leaves the question: Is it „good“ because it copies the original exactly? Or „bad“ because it contributes nothing of its own?
• King of the Hill (S14)
  Significant fluctuations in episode quality, but surprisingly solid overall—and above all respectful of the spirit of the original series. Amazingly coherent for such a late revival and one of the rare examples where a comeback actually (almost) works.
• Primitive War (+B)
  „Apocalypse T-Rex Now!“ – and yes, it sounds exactly as wild as it is. The basic idea is great: military jungle warfare meets prehistoric dinosaurs, with a distinct Far Cry feel. However, the execution is uneven: the beginning is gripping and intense, the middle noticeably loses momentum, and the finale feels a bit rushed. A big plus point is the relatively scientifically accurate depiction of feathered dinosaurs – a rare sight in the cinema.

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C-Tier – They could have made so much more of it—what a shame.

• Dracula: A Love Tale
  A strong start with a great atmosphere and successful setup. However, the contradictory ending detracts from the film’s previously strong form. In addition, the extreme Christian undertone in this version seems so overemphasized that it weighs down the narrative rather than enriching it.
• Love, Death and Robots (V04)
• Predator: Badlands
  Visually impressive – no question about it. But the story has clear weaknesses. The first half is really strong: exciting, atmospheric, and almost on par with Predator 1. But then there are two twists in quick succession that, in my opinion, completely derail the rest of the film. Towards the end, it gets even more chaotic, and the hinted-at sequel could really have been left out. Facepalm
  Von der Fan-Service Lieferung per Powerloader rede ich erst gar nicht … 
• Red Sonja
• Rick and Morty (S8)
  A painful decline in quality after many strong years. The former creative wildness and narrative sharpness are now rarely felt. Many episodes feel formulaic, as if the series is merely varying its own best ideas instead of developing them further. There are some good moments, but overall, the season lacks the anarchic bite and emotional depth that once distinguished Rick and Morty.
• Star Trek: Strange New Worlds (S03)
  As in previous seasons: technically/visually superb—but once again heavily laden with fan service and TOS member berries. Some episodes are charming and creative, while others seem half-baked or overly ambitious:
  – E01 – 80s Italo „Alien“ clone
  – E02 – Son of Q
  – E03 – Dawn of the Klingon
  – E04 – TOS‑TV‑Mystery
  – E05 – Wibbly wobbly, timey wimey – Part 1
  – E06 – Pitch for „TOS – Year One“
  – E07 – Mockumentary & Medienmanipulation
  – E08 – Vulcan comedy & exaggerated stereotypes
  – E09 – Enemy Mine—Tribute
  – E10 – Timey wimey – Part 2 (Effect before Cause)
  Overall, the season remains visually strong and technically polished, but too often loses itself in quotations and self-references—at the expense of suspense, emotional connection, and narrative clarity.
• Zootopia 2
  Better than expected – the first part is even stronger than I would have expected. After that, however, Disney once again swings the moral hammer very clearly, which noticeably takes away from the lightheartedness of the story. – On the positive side, thanks to Shakira, there is once again some very good music.
  BTW: the Honorary Jar Jar 2025 goes to Gary De’Snake.

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D-Tier -Let them die…

These series used to be great—but now they seem worn out, repetitive, and creatively empty.

• American Dad! (S21/S22)
  In creative limbo for years. The punchlines seem increasingly recycled, the characters are treading water, and even the once anarchic American Dad madness now feels more like a chore than genuine humor. There are still a few good moments—but they get lost in the noise of the series.
• Bob’s Burgers (S15/S16)
  Once warm-hearted, clever, and full of loving observations of everyday life—now mostly formulaic. The family dynamics still carry the series, but many episodes feel like slight variations on the same few basic ideas. The creative spark has noticeably weakened.
• Family Guy (S23/S24)
  The downward trend continues unabated. The series survives almost exclusively on cutaway gags and self-references, while genuine bite, satirical sharpness, and narrative ambition have almost completely disappeared.
• Futurama (S10)
  Meanwhile was a near-perfect series finale—emotional, well-rounded, and dignified. The subsequent return, on the other hand, seems unnecessary and strangely lackluster: half-baked punchlines, unfocused plots, and hardly any of the blend of heart, sci-fi ideas, and tragicomedy that once made Futurama so special.
• The Great North (S05)
  The cancellation comes as no surprise—and unfortunately, it is not undeserved. What initially seemed charming and unique became more repetitive and tonally uncertain with each season. The characters remained static, and the jokes became less and less effective.
• SolarOpposite (S06) (Korvo und Co.)
  Also rightly dismissed. If the subplot is consistently told in a much stronger, more emotional, and more consistent way than the actual main story, one should consider the narrative imbalance at an early stage. This is precisely what has been ignored for too long here.

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F-Tier – Junk

I could have saved myself the trouble—but I kept hoping for a twist until the very end. In vain.

• Dangerous Animals
  The pitch (Shark Serial Killer) had enormous potential for a dirty, exciting genre mix—but almost none of it was realized. The characters remain bland, the dramaturgy never really takes off, and there is hardly any suspense. Instead of clever B-movie thrills, what you get is an aimless string of wasted ideas.
• The Day the Earth Blew Up: A Looney Tunes Movie
  Another attempt to exploit an old brand—without the anarchic spirit that once made Looney Tunes great. Hardly any pace, hardly any madness, hardly any real jokes. Sterile, uninspired, and strangely lifeless.
• Deathstalker (2025)
• The Fantastic Four: First Steps
  The first part is surprisingly strong, even really good—then the film crashes mercilessly. The second half seems rushed, cliché-laden, and emotionally empty. The finale is pure superhero construction kit with no character of its own. Unfortunately, it’s exactly the same misguided development as in Superman (2025).
• Jurassic World Rebirth
  Actually a clear FF-Tier—but Scarlet in a tank top kept me from switching off immediately. Otherwise, a visually loud, narratively completely empty disaster. Mutant dino action without any soul.
• Marvel Zombies
  Another idea that relies purely on shock value and brand name. Superficial in content, inconsistent in tone, and far less clever than the concept promises.
  The MCU died with Tony Stark!
• Star Trek: Section 31
  One of the most superfluous Star Trek productions ever. No clear thematic core, no real Trek feeling, but lots of gray area posturing without any depth of content.
• Star Wars: Tales of the Underworld
  Star Wars died over Endor.
  Does every villain really have to have a redemption story now?
• Superman (2025)
  Surprisingly good until the pocket universe twist—ambitious, bold, and modernly staged. But from this point on, the film completely falls apart: confusing plot decisions, poor pacing, and a finale that feels like it was hastily cobbled together at the last minute.

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FF-Tier – A complete waste of time

A complete waste of time—didn’t even watch it to the end.

• LEGO Star Wars: Rebuild the Galaxy: Pieces of the Past
  Star Wars died over Endor.
  The attempt to save itself with meta humor, fan service, and self-references ends in uncoordinated animation overkill.
• Lilo & Stitch (2025)
  At first, everything seems like a sterile 1:1 copy of the animated film: same shots, same scenes, same beats. But then the film shifts into a strange mixture of slapstick comedy, family drama, and action sequences that are completely out of place tonally.
• Long Story Short (S01)
  Even great creators can miss the mark. The series aims to combine Bojack-style meta-melancholy with absurdity, but fails due to weak characters, shallow conflicts, and jokes that hardly land. The emotional core that should hold everything together is almost completely missing.
• Star Wars: Visions (S03)
  Star Wars died over Endor.
  Visually still strong, often impressive in terms of craftsmanship—but narratively completely frayed. The anthology increasingly loses its profile and seems more like a loose collection of stylish finger exercises than a coherent creative vision.
• The Toxic Avenger (2025)
  Remakes—especially of cult films from the 80s—should be banned. This version fails to capture either the anarchic humor or the subcultural grunge charm of the original. Instead, it’s polished, tame, interchangeable—and thus completely misses the mark.

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NO! – Just NO!

It would actually fit into my plan, but after reading the reviews, I’m not interested at all.
This saved me a lot of time and money and spared me many disappointments.

• Alien Earth (S01)
• American Primeval
• Captain America: Brave New World
• Mickey 17
• A Minecraft Movie
• The Running Man (2025)
• Snow White
• Stranger Things (S05)
• Thunderbolts*
• Tron: Ares
• The Witcher: (S04)
• Avatar: Fire and Ash