Sinner

Jannik Sinner’s first Paris Masters crown moves the Italian past Carlos Alcaraz and back into the ATP’s top spot.

Italy’s Jannik Sinner powered past Felix Auger-Aliassime 6-4, 7-6(4) to capture his maiden Paris Masters title on Sunday, a triumph that catapulted the 24-year-old back to the summit of the men’s rankings ahead of the ATP Finals.

The second seed knew only victory would suffice to leapfrog rival Carlos Alcaraz atop the standings, and he delivered in style to become just the fourth player in tournament history to lift the trophy without dropping a set.

For Auger-Aliassime, the stakes were equally high but the outcome crushingly different. The Canadian ninth seed needed the title to secure his spot at the season-ending ATP Finals in Turin, but instead saw his hopes dashed in a high-quality final.

Sinner’s Paris conquest marked his first Masters crown of the year and fifth title of 2025, extending his remarkable indoor hardcourt winning streak to 26 matches.

‘Intense final’

“It’s huge, honestly. It was such an intense final here, and we both knew what’s on the line. Also him, he’s in a very tough and difficult spot, but from my side, I’m extremely happy,” Sinner said in an on-court interview.

“The past couple of months have been amazing. We’ve tried to work on things, trying to improve as a player. Seeing these kind of results makes me incredibly happy.

“Another title this year. It has been an amazing year, no matter what comes now in Turin. I’m extremely happy.”

Sinner made his intentions clear from the opening game, breaking Auger-Aliassime’s serve before consolidating the break as he controlled rallies while the Canadian leaked unforced errors.

Despite the majority of the crowd rallying behind the underdog, Auger-Aliassime struggled to match Sinner’s relentless power and precision.

Sinner untouchable on serve

Sinner proved untouchable on the serve, mixing deep groundstrokes with drop shots and half-volleys to bamboozle his opponent.

The Italian’s dominance was complete in the opening set, when Auger-Aliassime failed to earn a single break point while Sinner dropped just three points on serve, sealing the set with a flourish by firing a cross-court forehand winner.

The second set offered more resistance, however, as Auger-Aliassime showed his mettle, saving five break points.

But even his resolute defence could not crack Sinner’s serving stranglehold as the set headed to a tiebreak.

Auger-Aliassime held his own in the tiebreak until a crucial error handed Sinner the advantage, and the Italian needed no second invitation to surge into the lead.

Sinner then delivered the knockout blow on match point, forcing Auger-Aliassime wide during the rally before unleashing a searing backhand winner down the line to claim his fifth Masters crown.

Auger-Aliassime is set to play this week in Metz, where he had a first-round bye, in a last attempt to secure the final spot at the ATP Finals the following week.

There’s a good chance that a horror movie will be nominated for the 2025 best picture Oscar.

And if Ryan Coogler’s “Sinners” or Guillermo del Toro’s “Frankenstein” make the cut, it will be the first time in the Academy Awards’ 97-year history that a fright film has been nominated in consecutive contests.

It’s long overdue. And if you believe part of Oscars’ purpose is to promote the industry and celebrate its achievements, there’s no better time for the academy to get over its traditional disdain for cinematic monstrosities.

As most other sectors of Hollywood’s film business look precarious — adult dramas, the traditional awards season ponies, are dropping like dead horses at the box office, while attendance for the once-mighty superhero supergenre continues to disappoint — horror has hit its highest annual gross of all time, $1.2 billion, with a good two months left to go.

“Sinners,” released in April, remains in fifth place on the domestic box office chart with $279 million. Its fellow Warner Bros. offerings “The Conjuring: Last Rites,” “Weapons” and “Final Destination: Bloodlines” occupied slots 12 through 14 as of mid-October.

Mia Goth as Elizabeth and Oscar Isaac in “Frankenstein.”

(Ken Woroner / Netflix)

“Horror has been, historically, the Rodney Dangerfield of genres,” notes Paul Dergarabedian, head of marketplace trends for global media measurement firm Comscore. “It can’t get no respect.

“But horror is very important to the industry on so many levels now,” he continues. “We have four horror movies in the top 15 this year, all of those generating over $100 million in domestic box office. And to make a significant scary horror movie, you don’t have to break the bank. Look at [‘Weapons’ filmmaker Zach Cregger’s 2022 breakout feature] ‘Barbarian’; half of that was shot in a basement.” Similarly, compare “Sinners’” $90 million price tag to “Black Panther’s” $200 million.

Horror’s popularity has gone in cycles since Universal’s run of classic monster movies in the early 1930s. But profitability has been a reliable bet more often than not — and Karloff’s “Frankenstein” and Lugosi’s “Dracula” still resonate through pop culture while most best picture winners of the same era are forgotten.

Still, it wasn’t until 1974 that “The Exorcist” received the first best picture nomination for a horror film, and ahead of the success of “The Substance” at the 2025 Oscar nominations the genre’s fortunes had only marginally improved. Indeed, many of the titles usually cited as a mark of horror’s growing foothold in awards season — “Jaws,” “The Sixth Sense,” “Black Swan,” 1991 winner “The Silence of the Lambs” — are arguably better characterized as something else entirely, or at best as hybrids. (To wit, the sole monster movie that’s won best picture, Del Toro’s 2017 “The Shape of Water,” is primarily considered a romantic fantasy.)

Ryan Coogler’s “Sinners.”

(Warner Bros. Pictures)

Fright films’ reputation for delivering cheap thrills to undiscerning audiences was often deserved, but there were always stellar horror films that the academy overlooked. And more recently, films such as “The Substance,” “Sinners” and Jordan Peele’s 2017 nominee “Get Out” have pierced ingrained voter prejudices against the genre by adding social commentary and undeniable aesthetic quality without compromising gory fundamentals.

“The horror genre really does seem to be attracting great directors who are immersed in it, have a real auteur point-of-view and make interesting movies that have horror elements but explore other themes as well,” notes The Envelope’s awards columnist, Glenn Whipp. “‘Sinners’ is Ryan Coogler’s vampire movie, but it’s also about the Jim Crow South and American blues music. How can you resist that if you’re an academy voter?”

And with horror packing in filmgoers like no other genre, high-profile nominations could help the Academy Awards broadcast attract the bigger ratings its stakeholders have been desperately seeking at least since “The Dark Knight” failed to make the best picture cut in 2008.

Austin Abrams in “Weapons.”

(Warner Bros. Pictures)

“That was the whole reason we went to 10 potential nominees,” Dergarabedian recalls. “We wanted to have more blockbuster representation at the Oscars. This may be the perfect storm. If I were an academy voter, I would vote for ‘Sinners’ and ‘Weapons.’ I don’t think that’s an overstatement, given the films that have come out this year.”

Even beyond this “perfect storm,” though, Whipp sees a sea change afoot.

“Everything’s an Oscar movie now if it’s well made,” he says. “Studios aren’t really making traditional, grown-up dramas and the academy can only nominate what’s in front of them. Horror is being produced at a rate that is greater than it used to be, and at least two of these Warner movies really landed with audiences and critics. The genre is attracting some of our top filmmakers right now, and that’s something that will trickle down to the Oscars.”

“This is not a blip,” Dergarabedian concludes. “It’s a trend that feels like it’s happened overnight but it’s been a long time coming. Back in 2017 we had our first $1-billion-plus horror movie box office. If they stop making good horror movies it might be a blip, but I think Hollywood should take this and bloody run with it.”

The 28-year-old German recorded his 300th victory on hard courts with a comfortable victory over Musetti.

He played the key points well and made no mistake when serving out for the match after breaking the Italian fourth seed in the 11th game of the second set.

Since losing to Sinner at the Australian Open, Zverev has gone on to reach just two more finals, winning on clay in Munich in April and losing on the grass in Stuttgart in June.

That is in stark contrast to Sinner’s record, with the Italian world number two becoming the first man since Novak Djokovic in 2015-16 to appear in eight finals in successive seasons.

Sinner extended his winning streak on indoor hard courts to 20 matches and took his unbeaten record to 12 wins against Australian third seed De Minaur as he claimed a fourth consecutive straight-set victory at the ATP 500 tournament.

He was broken twice – once in each set – but battled his way through what he described as a “physical” encounter.

“I am happy how I handled it,” said the 2023 Vienna Open champion, who is aiming to secure a fourth title of the season after wins at the Australian Open, Wimbledon and China Open.

“I was a break up in the second and he broke me back. I tried to stay strong mentally so I am very happy about today’s performance and obviously to be in another final.”

Elsewhere, 19-year-old Brazilian Joao Fonseca reached the first ATP 500 final of his career with a 7-6 (7-4) 7-5 victory over unseeded Spanish player Jaume Munar at the Swiss Indoors in Basel.

He will play another Spaniard – Alejandro Davidovich Fokina – in the final after the eighth seed’s opponent Frenchman Ugo Humbert retired while trailing 7-6 (7-4) 3-1 in their semi-final.