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Top 15 Highest-Paid Movie Actors of 2025

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Ignacio Weil

Galleries - December 31st 2025, 17:00 GMT+1

Pedro Pascal The Fantastic Four First Steps cropped processed by imagy — 15. Pedro Pascal (The Fantastic Four: First Steps) — $10 Million

Retro-futurist 1960s vibes, cosmic-level stakes, and a superhero “family” that needs to feel like a family before the universe tries to eat them—easy, right? Pedro Pascal walks into *The Fantastic Four: First Steps* as Reed Richards and does the thing he does best: makes enormous genre nonsense feel oddly human, like you could actually trust this guy to solve a crisis without turning it into a TED Talk. The film’s big win is that it doesn’t rely on Reed being a cold genius statue; Pascal lets the brainpower coexist with warmth, awkwardness, and that quiet “I’m thinking too fast, please don’t notice” tension. Somewhere in the middle of all the spectacle, he gives the reboot a pulse, which is exactly what Marvel needed after years of noisy, overstuffed entries. Whether or not you care about the exact paycheck, the performance reads like a studio investing in stability—someone who can hold the center while the visuals sprint laps around the screen. | © Marvel Studios

Millie Bobby Brown The Electric State cropped processed by imagy — 14. Millie Bobby Brown (The Electric State) — $10 Million

This one has the unmistakable scent of “an expensive movie that forgot to be good.” *The Electric State* throws gorgeous design and a massive budget at the wall, then follows it up with a story that feels generic, noisy, and weirdly hollow—like it was assembled by committee in a panic after someone said the word “four-quadrant.” Millie Bobby Brown does what she can, but the film keeps undercutting her with clunky beats and a tone that can’t decide if it wants wonder, comedy, or dystopian dread, so it tries all of them and nails none. It’s not “divisive”; it’s a mess with pretty wallpaper. Even the emotional moments feel pre-programmed, like the movie is begging for tears while actively refusing to earn them. If the reported salary is true, good for her—she got paid before the audience had to sit through it. | © AGBO Films

Anthony Mackie Captain America Brave New World cropped processed by imagy — 13. Anthony Mackie (Captain America: Brave New World) — $10 Million

A new Captain America should feel like a fresh era; this one often feels like a patch notes update. Anthony Mackie is the best thing in *Captain America: Brave New World*—he brings an earnest, grounded energy that tries to keep the film from floating away into franchise clutter. Unfortunately, the movie stacks so many plot errands, callbacks, and half-baked ideas on top of each other that it starts to look like it’s sprinting through its own checklist. The action has flashes, but the bigger problem is that the whole thing plays strangely routine and occasionally cheap-looking for a film that’s supposed to carry the mantle. Mackie can’t fix a script that keeps turning character moments into pit stops. It’s the kind of superhero entry that leaves you thinking, “He deserved a better movie,” which is not the triumphant vibe a shield pass is supposed to have. | © Marvel Studios

Jason Momoa A Minecraft Movie cropped processed by imagy — 12. Jason Momoa (A Minecraft Movie) — $12 Million

A film adaptation of *Minecraft* should either embrace the silliness or collapse under the weight of expectation—this one chooses silliness and commits, loudly. Jason Momoa is basically the human embodiment of “go big or go home,” and *A Minecraft Movie* uses that to its advantage: he sells the broad jokes, the chaos, and the “yes, this is happening” energy with enough confidence that you stop questioning it and just ride along. Is it deep? Not even remotely. But it’s enthusiastic, colorful, and shamelessly designed to get laughs and reactions, and sometimes that’s the whole mission statement. The movie’s biggest strength is that it doesn’t pretend it’s above its own premise; it leans in, stacks the spectacle, and lets Momoa be a walking exclamation point. If you want art-house subtlety, run. If you want loud fun with a familiar star driving, it delivers exactly that. | © Legendary Pictures / Vertigo Entertainment / On the Roam / Mojang Studios

Tom Hardy Havoc 12 Million cropped processed by imagy — 11. Tom Hardy (Havoc) — $12 Million

This is the kind of action movie that shows up with bruised knuckles and zero interest in being polite. *Havoc* gives Tom Hardy a grim, battered role and then uses him like a wrecking ball: he doesn’t so much “star” as he “endures,” dragging the film through gunfire, chaos, and relentless momentum. The best parts are the fights—hard, sharp, and staged with the kind of clarity that makes you feel every hit without turning it into a blurry headache. The worst parts are everything connecting those fights, because the story can feel thin and functional, like it exists mainly to move Hardy from one catastrophe to the next. Still, there’s a nasty efficiency to it: when it’s cooking, it’s a straight shot of adrenaline. It’s not elegant, but it is unapologetically physical—exactly the lane Hardy excels at when the movie lets him be a force of nature. | © Severn Screen

Scarlett Johansson Jurassic World Rebirth cropped processed by imagy — 10. Scarlett Johansson (Jurassic World Rebirth) — $15 Million

A dinosaur franchise doesn’t bring in Scarlett Johansson to stand in the background and yell “run” while everyone else panics; it brings her in to make the chaos feel like it has an adult in the room. *Jurassic World Rebirth* leans into that “new era, same teeth” energy, and Johansson plays the kind of lead who looks like she’d rather solve the problem than scream about it. The movie’s set pieces are built to be loud and legible—big chases, bigger reveals, and the familiar sense that corporate optimism and electrified fences are natural enemies. When the script gets thin, she’s the ballast; when it’s clicking, she makes the human stakes feel less like paperwork between dinosaur scenes. The paycheck talk is inevitable with a name this big, but what matters onscreen is simple: she makes franchise spectacle feel sturdier just by showing up and committing. | © Universal Pictures

Harrison Ford Captain America Brave New World cropped processed by imagy — 9. Harrison Ford (Captain America: Brave New World) — $15 Million

Watching Harrison Ford step into a Marvel machine is like seeing a classic muscle car drop into a video game—older, louder, and still somehow the thing you notice first. In *Captain America: Brave New World*, he brings that famously unbothered intensity to a role that needs weight, because the movie’s politics-and-punches balancing act can wobble hard when it tries to do too much at once. Ford’s presence doesn’t magically fix the clutter, but it does give the film a center of gravity: when he’s in a scene, it stops feeling like a checklist and starts feeling like a confrontation. It’s a performance that doesn’t beg for applause; it just shows up, stares everyone down, and makes the stakes feel real by refusing to play them “comic-book light.” If the movie is messy, he’s the part that looks like it knows exactly what it’s doing. | © Marvel Studios

Julia Roberts After The Hunt cropped processed by imagy — 8. Julia Roberts (After the Hunt) — $20 Million

Some movies don’t need explosions to be stressful; they just need a room where everyone is speaking carefully and meaning something else entirely. *After the Hunt* gives Julia Roberts that kind of material—adult drama with sharp edges, where one look can do more damage than a monologue. Roberts is at her best when she’s allowed to be complicated: confident on the surface, unsettled underneath, and always one sentence away from making the scene turn. It’s not a “likable” performance so much as a controlled burn, and that’s the point; the film thrives on discomfort and the slow realization that nobody in the story is walking away clean. The big salary chatter fits the idea of paying for a star who can carry tension without theatrical tricks. Whether you love the movie or want to argue with it, Roberts makes it hard to ignore. | © Metro-Goldwyn-Mayer

Chris Pratt The Electric State cropped processed by imagy — 7. Chris Pratt (The Electric State) — $20 Million

This is the kind of glossy sci-fi that looks like it cost a fortune and still somehow feels weirdly cheap where it matters: the writing. *The Electric State* gives Chris Pratt the familiar “wisecrack under pressure” lane, but the movie keeps stepping on its own feet—awkward tone shifts, emotional beats that feel pre-packaged, and a story that seems allergic to genuine surprise. Pratt does the professional thing and keeps it moving, yet you can feel the film begging its cast to sell moments the script didn’t earn. It’s not “divisive,” it’s bloated and hollow at the same time, like a beautiful trailer stretched into a feature-length assignment. If there’s a lesson here, it’s that expensive visuals can’t bribe a weak narrative into working. Pratt walks out fine; the movie… doesn’t. | © AGBO Films

6. Adam Sandler (Happy Gilmore 2) — $20 Million

There’s nostalgia, and then there’s Adam Sandler walking back into a role like he left it in the garage with the engine running. *Happy Gilmore 2* knows exactly what people came for: familiar chaos, loud one-liners, and that specific Sandler rhythm where stupidity and sincerity somehow share the same swing. The jokes can be shameless—callbacks, cameos, the occasional gag that feels like it time-traveled from 1996—and the movie doesn’t apologize, because apologizing would ruin the vibe. When it’s on, it’s comforting in the dumbest way; when it’s not, it’s still coasting on familiarity like a golf cart downhill. Sandler’s payday talk is easy to understand when the entire project is basically a “press play, you already know” promise. It’s not subtle, it’s not trying to be, and that honesty is half the charm. | © Happy Madison Productions

One Battle After Another cropped processed by imagy — 5. Leonardo DiCaprio (One Battle After Another) — $25 Million

Nothing about this movie behaves like it’s trying to be “easy viewing,” and that’s exactly the point. Leonardo DiCaprio throws himself into *One Battle After Another* with that jittery, locked-in intensity that makes even a quiet moment feel like it has a fuse somewhere offscreen. Paul Thomas Anderson’s tone is bold and impatient—funny in a way that can sting, chaotic in a way that still feels controlled—and DiCaprio works as the engine that keeps it from drifting into pure conceptual fireworks. Critics largely treated it like a major late-year statement, the kind of film people argue about because it actually gives them something to argue about. Commercially, it wasn’t the sort of clean, crowd-pleasing win you’d expect from a cast this big, but it did become a very loud reminder that “expensive” and “interesting” don’t have to be enemies. | © Ghoulardi Film Company

Brad Pitt F1 cropped processed by imagy — 4. Brad Pitt (F1: The Movie) — $30 Million

The camera in *F1: The Movie* doesn’t just show speed—it *worships* it, like the lens itself is trying to qualify for pole position. Brad Pitt slides into the “veteran with something left to prove” role so smoothly you’d think he’d been doing warm-up laps for years, and the movie smartly lets his calm presence contrast with the sport’s constant pressure-cooker energy. Joseph Kosinski’s style is built for this: clean geography, huge sound, and action that feels physical instead of rubbery. The plot hits familiar sports-drama beats, sure, but it’s executed with enough craft (and enough engine noise) that the clichés don’t feel sleepy. Pitt doesn’t overplay it; he just anchors the whole thing with that relaxed, movie-star gravity while everything around him tries to break the speed limit. | © Apple Studios

Cameron Diaz Back in Action cropped processed by imagy — 3. Cameron Diaz (Back in Action) — $45 Million

The vibe here is “reunited and it feels… fine,” which is not an insult so much as a genre description. Cameron Diaz coming back for *Back in Action* is the real hook, and she’s still got the comedic timing to make a basic spy-family setup land more often than it should. The movie keeps things breezy—chases, banter, some glossy chaos—without pretending it’s reinventing anything, and the end result plays like a comfortable background watch that occasionally earns your full attention. Diaz sells the charm; Jamie Foxx sells the momentum; the script mostly sells you on “let’s keep moving before anyone asks questions.” It’s not the kind of action-comedy that sticks in your brain for weeks, but it does what it came to do: give Diaz a clean runway back into big-screen (and big-streaming) mode. | © Chernin Entertainment

Daniel Craig Wake Up Dead Man cropped processed by imagy — 2. Daniel Craig (Wake Up Dead Man: A Knives Out Mystery) — $50 Million

A Benoit Blanc mystery lives or dies on how much you enjoy watching rich people lie with confidence, and Daniel Craig remains absurdly good at making that feel like a gourmet meal. *Wake Up Dead Man* goes darker than the previous entries, with a moodier edge that still leaves room for the franchise’s favorite sport: politely eviscerating the suspects. Craig’s Blanc is both theatrical and razor-sharp, the kind of detective who can drop a ridiculous line and still make you believe he’s three steps ahead. The ensemble chemistry is the secret weapon—everyone gets moments to shine, and the movie keeps shifting the power balance so the mystery doesn’t go stale. Even when it’s being playful, it has teeth, and Craig’s performance is the reason the whole balancing act works instead of collapsing into parody. | © T-Street Productions

Cropped Mission Impossible The Final Reckoning — 1. Tom Cruise (Mission: Impossible – The Final Reckoning) — $130 Million

The only truly unbelievable part of a Tom Cruise *Mission: Impossible* movie is the idea that anyone on set ever told him, “Maybe we don’t need to do that stunt.” *The Final Reckoning* is engineered like a countdown: breathless set pieces, constant forward motion, and the sense that the film is daring you to blink at the wrong time. Cruise plays Ethan Hunt with that familiar mix of relentless competence and barely-contained panic, which is basically the franchise’s signature cocktail at this point. Not everything is perfectly smooth—there’s a stretch where the exposition stacks up like luggage before the action sprint resumes—but once it hits full speed, it’s a masterclass in blockbuster mechanics. Love him or roll your eyes at the myth-making, Cruise is still out here treating “movie star” like an extreme sport. | © Paramount Pictures

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Hollywood money has its own logic: part salary, part bonus, part “you want me for the sequel? let’s talk.” This list rounds up the movie actors who earned the biggest paydays in 2025, factoring in the kinds of deals that tend to inflate a paycheck well beyond a simple per-film fee.

Expect franchise heavy-hitters, a few contract magicians, and at least one name that makes you say, “Wait, they made that much?” It’s not a morality contest or a talent ranking—it’s just a snapshot of who pulled in the largest reported movie-era earnings this year, with all the weird modern deal-making baked in.

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Hollywood money has its own logic: part salary, part bonus, part “you want me for the sequel? let’s talk.” This list rounds up the movie actors who earned the biggest paydays in 2025, factoring in the kinds of deals that tend to inflate a paycheck well beyond a simple per-film fee.

Expect franchise heavy-hitters, a few contract magicians, and at least one name that makes you say, “Wait, they made that much?” It’s not a morality contest or a talent ranking—it’s just a snapshot of who pulled in the largest reported movie-era earnings this year, with all the weird modern deal-making baked in.