Marty Supreme is more than just a vehicle for one of this generation's most vital stars to ball out and push his personal brand. It is one of the most impressive films of the year, an ambitious and exhilarating effort whose biggest sin is fumbling a bit in the finale.

In its artful, brilliantly acted exploration of the moment one learns that the world isn't "fair" and how we keep going in the face of evil, Josephine sets a high bar for all movies to come in 2026.

Entertaining yet depressing, surreal yet too real, frustrating yet somehow cathartic, "I Saw the TV Glow" leaves such a strong impression that it's hard to stop thinking about it days after seeing it.

It's a sharp, sexy, and intoxicating drama that has more in common with Patrick Marber's play "Closer" than with most spook stories.

The film is a gargantuan undertaking and its heights will reverberate through pop culture for the foreseeable future. But some of its bigger swings don't quite connect and suggest that it is possible for a movie to try to be too many things at once.

A thoughtful meditation on love and grief, Hamnet features career-best performances from Paul Mescal and Jessie Buckley, and is Zhao's most intimate work to date.

Its narrative structure keeps Weapons continually engaging, while its talented cast of actors brings depth to each character, making this one of the best horror films of the year. 

DaCosta arrives in the world of 28 Years Later with confidence, swagger, and infectious energy, delivering 28 Years Later: The Bone Temple — one of the best horror sequels in recent memory, and a must-see horror film for 2026.

Beyond just being clever and unexpected, there's something quietly powerful to this story of truth-seekers in a post-truth world.

Despite its faults, it showcases how much sex scenes can be used to explore character beyond their mere ability to titillate (but don't worry, there's plenty of that as well).

Furiosa: A Mad Max Saga is a good movie that has either the fortune or the misfortune of existing as a prequel to a nearly perfect movie.

The lack of character development blunts any potential for the deeper emotional impact found in the best war movies. The lack of political contextualization further limits how much the film is really capable of saying.

If you've found the previous live-action Predator movies (including Trachtenberg's own franchise-reviving "Prey") to be too heavy on plot at the expense of the carnage, then the brevity of this spin-off is exactly what you'll have been wanting, stripping down the formula to its barest essentials across three brief stories.

Taken on its own terms, Frankenstein is a compelling, at times moving, and utterly gorgeous epic. As a fan of both Del Toro and Shelley, I can't help but nitpick the details.

Eggers' Nosferatu is a beautifully crafted, endlessly compelling nightmare that will envelop you in its shifting, writhing darkness and simply refuse to let go. It's one of the best horror films of the year, and represents a new level of ambition and craft from one of our best horror filmmakers.

For me, the only unsettling surprise was the discovery that a movie featuring a diabolically unrestrained Nicolas Cage performance could be so unengaging.

Deeply hopeful, spectacularly produced, and equally adept at laughter and tears, Project Hail Mary is the best new movie to hit theaters so far this year.

28 Years Later is scary and touching and funny and brutal, and I loved every minute of it.

Chaotic in its depiction of the unraveling of a contentious workplace relationship, Send Help is a profoundly unserious thriller that is nevertheless a crowdpleaser.

Doing double duty as both a romcom and a twisted body horror movie is a tonal challenge that "Together" pulls off successfully, in large part thanks to how fun it is.

Bring Her Back genuinely disturbed me. You can decide whether that's reason to see it as soon as possible or reason to stay far away.

Final Destination Bloodlines is a tremendous amount of fun, especially if you can see it in a theater (preferably with an audience willing to match its energy). I said that Final Destination offers no surprises, and yet this iteration of the concept is a pleasant one.

Despite my questions and quibbles, I'm still happy this sequel exists, even if it falls short of masterpiece status.

Even though the film is essentially a sonnet with car crashes dedicated to the men and women behind the movie stars, much of the film's majesty comes directly from the charisma of its leading man.

For the most part, the musical fires on all cylinders, so we're off to a good start.

If Pixar is now just as formulaic as its Hollywood animation peers, then director Daniel Chong's film is a reminder that a stereotypical crowd-pleaser from this studio is made with enough emotional sincerity and visual inspiration to never feel like cheap product fallen off the factory line.

Transcending its gimmick status within its opening stretch and only growing more resonant from there, it becomes that rare horror film you could recommend to people who hate the genre — the set pieces are well constructed, but their impact pales next to a haunting, moving story about a dog and his owner. 

That "Zootopia 2" has anything that will linger in the imagination long after viewing already puts it a league above Disney's other cash-grab sequels, but it effortlessly clears that lowest of bars. It's not perfect, but even the parents dragged along by their kids will be happy to see a third movie — and by modern Disney standards, that is nothing short of miraculous.

Juror #2 is a meat and potatoes drama with a strong central premise, a great cast, and a runtime that doesn't overstay its welcome. It's exactly the kind of drama made for adults that has been jettisoned to television for the last 15 or so years.

With Robinson doing his thing and Paul Rudd's straight man delightfully off-kilter in his own way, Friendship is a chaotic ride from start to finish.

It's the weakest of his three English language efforts due to it feeling like he's watering down his satirical approach, spoon-feeding exposition to his audience alongside each joke under the worry that the parody might go over their heads.

Although the relationship between Craig and Drew Starkey, who plays his reluctant lover, is endlessly fascinating, the film doesn't do enough to explore it, instead taking an odd third act turn into an entirely different plot and dragging out every minute of its runtime with trippy, pseudo-intellectual visuals.

It's another triumph from a singular voice in cinema, and another Lanthimos movie you sort of never see coming.

Nobody comes to a "Bridget Jones" movie for realism, but Bridget Jones: Mad About the Boy understands what its predecessors struggled to, recognizing that even the most far-fetched of genre tropes becomes more palatable when pitched as cathartic to its protagonist, and the audience more generally.

Maybe there's something I'm not getting here, but as far as I'm concerned, Die My Love comes alive in individual scenes yet feels stultifying as a whole.

It's intelligent without being profound, amusing without being hilarious, empathetic without being gut-wrenching. "Cute" is the word I'd use to describe it overall. By nature it's nothing special, but it's not bad either.

The only thing holding Heretic back from instant classic status is its final act, where some of the big secret reveals end up a bit disappointing after so much great build-up.

Lawrence and screenwriter J.T. Mollner's take on "The Long Walk" is a reminder of why King's stories have historically been well-suited for the screen, replicating the blend of melancholy, coming-of-age character study, and fatalistic horror that defined the very best adaptations of his work.

. The fact it all adds up to an enjoyable romp, albeit one that never feels as bold as its parts, is likely an encouraging sign that Dan Trachtenberg has attained a similar status to Phil Lord and Chris Miller a decade ago, taking pitches that sound disastrous and turning them into non-compromised crowd-pleasers against all the odds.

The plot, like Dylan himself, seems to be meandering, and while it's an interesting parallel, the end result is a film that feels more than a little listless whenever someone's not singing.

It looks beautiful, and there are no weak links within the stacked ensemble, but it winds up feeling alarmingly empty.

Emilia Pérez can certainly be messy, but it's rarely a mess, and many audiences might just fall in love with its audacious, chaotic energy.

Much of Materialists is almost aggressively unromantic, and while it's not without laughs, those are also darker and more uncomfortable than you'd expect.

Though its long string of wacky plot points might sound convoluted on paper, one shouldn't worry too much about it. The craziest details are mostly there for laughs, and the thematic and emotional through-lines that actually matter remain clear throughout.

Like many high-concept satire movies, it works best in its first act when it's still setting everything up, then it loses steam when it's not quite sure where to go with the idea. The end result is an uneven yet still entertaining satirical romp, bolstered by engaging performances from its top-notch cast.

It's a testament to the charisma on display, and the expertise with which they work, that they all can take center-stage and then step back and let someone else have a turn.

At the end of the day, the roar of the engines is loud enough to drown out any meaningful discussions about the intersection of commerce and art. For a movie about cars racing fast, it delivers.

As a whole, "Day One" is different enough from its predecessors while meeting similarly high marks of filmmaking craft, resulting in a solid piece of popcorn filmmaking.

As an introduction to the rebooted DC Universe, "Superman" is zippy blockbuster fun. But amidst all its cartoon absurdity, it might just inspire people to make a difference in this universe.

It features an excellent ensemble cast who bring tremendous heart to each of their cinematic segments, and represents Stephen King at his most sentimental and uncynical.

It aims to be a nostalgic send-off, but the execution is muddled, forgetting that nobody ever came to these movies for the plot so much as the spectacle its amateur stuntman star provided in droves.

If Smile 2 feels just as good as the first in the moment, then it's entirely thanks to Scott, who helps anchor a story that could crack under the weight of its endless twist reveals.

It will likely prove divisive, but Blink Twice mostly succeeds due to its scathing nature, taking off the kid gloves that most recent eat-the-rich films have tackled the 1% with. It's not a flawless debut, but it's a convincing sign that Kravitz has an even more exciting career waiting for her behind the camera.

It wrestles with similar ideas as its source material, sure, but when push comes to shove, Watkins is more than happy to deliver all the violence and hysteria that's been bubbling underneath the surface the whole time.

Good Luck, Have Fun, Don't Die is both a battle cry and a bleak joke about how unregulated technological progress could destroy civilization and break our souls ... if it hasn't already.

This is a surprisingly sad movie — just one that also happens to be funny.

The power of Fiennes' and Binoche's performances, as well as the strength of the classic tale itself, allow "The Return" to build into something both entertaining and meaningful in its final act.

The craft is there. The new characters are solid enough. Visually it's a real treat to behold. But 145 minutes is too long to spend retreading the recent past.

The result is a cute but uneven production that doesn't live up to its impressively imaginative concepts.

Is The Housemaid a serious movie? No. Is it often bogged down by a clunky script penned by Rebecca Sonnenshine? Yes. Is it sometimes even stupid? Definitely. Is it fun to watch and sure to become a fun staple? Yes, absolutely — thanks to Seyfried and Feig.

What remains in question is how much this story constructed through hints, however well they can be understood, actually evokes feeling. To me, Carousel felt like it was missing something that could have made its quiet slice-of-life scenes a real emotional experience.

Twisters can't quite recapture the magic of its predecessor, but setting aside the Herculean task of clearing that high bar, it is nonetheless an entertaining and heartfelt attempt, if not to proudly step out of its forebear's shadow, then to charmingly poke its head out to smile and wave politely.

The more this origin story refrains from winking and nodding at the future direction of this characters, the better it is. That it can't entirely keep itself away from this impulse is why it isn't the smooth introduction for a new generation of potential fans it could have been.

Eddington is a fascinating film whose high points are sure to grow in the public estimation with the distance of time, but whose murky themes and punishing runtime have more in common with advanced torture tactics than with traditional cinematic expression.

The problem is it can't find nearly enough to say to justify its 148 minute runtime, exhausting interest and failing to build its intriguing big ideas into a compelling story.

The meta-narrative of where The Smashing Machine fits into Johnson's career is more interesting than the film itself, which I found a bit of a bore. Johnson's performance is good enough, and Emily Blunt is truly transformative as Kerr's unstable wife Dawn Staples, but neither get that much to do beyond repeat the same sort of fights (physical or verbal) over the course of two hours in a film that fails to justify why we should be so interested.

The film is not exactly exemplary or paradigm shifting, but it is entertaining, heartfelt, earnest, and largely unashamed of its comic book origins.

The co-writer-slash-director's proximity to its real-life subjects means he can't put too much of an over-the-top Hollywood twist on the tale, but any intent to do justice to the reality of the story just left me wondering why he would want to tell it again if he weren't going to lean into the gloriously preposterous traits one would expect from the classic disaster movie.

Whatever happened in bringing this story to the big screen, 100 Nights of Hero starts off enjoyable enough in the moment, but by the time it ends, it's easy to feel underwhelmed.

While "Romulus" is a bit overstuffed, it's also never boring, and at its best it's one of the scariest rides you can take at the movies this summer.

It's a great time at the movies for slasher fans, '80s pop culture fans, and Mia Goth fans alike, and even with a few stumbles in mind, it manages to stand as one of the summer's must-see films.

Rental Family is a clear crowdpleaser with a sense of humor and charm that will make audiences fall in love with it — if they're willing to accept its unvarnished sentimentality, that is.

With Paul Mescal taking on leading man duties, Gladiator II capitalizes on all the visual delights and heroic battles that make this genre — when done well — so enjoyable to watch.

If nothing else, Kinds of Kindness features three show-stopping performances from Jesse Plemons, giving Lanthimos a new muse to champion.

It's the incomparable Strong who steals the show as Cohn, the Pygmalion who carves Trump out of spray tan and ill-fitting suits to make him into the monster he becomes.

On Swift Horses finally achieves the emotional resonance it's been aiming for just a few minutes before the credits.

The film as a whole may be too sedate and ploddingly paced for some — a piano being moved back and forth, over and over again, across an elegant but lonely Parisian apartment, both literally and figuratively. But it's impossible to deny the raw emotional power of Jolie in the lead role.

It's perfectly serviceable, never less than watchable, but lacking in anything special that could live up to its twisty potential.

We didn't need The Devil Wears Prada 2 ... and unfortunately, it shows. This might be a legacy sequel, but it feels like a bad knockoff; the "Channel" to the original's "Chanel."

There's enough here to win over audiences who loved the original film, particularly in its depiction of the endless bureaucracy of the Afterlife.

Yes, it's still rare for a horror film to be longer than two hours, but it's especially rare for a horror film of that length to feel rushed. Terrifier 3 progresses to its climactic living nightmare too fast to be properly processed; this is likely to mirror Sienna's mental state in that moment, but it is still in dire need of an extra couple of beats to build tension before all hell breaks loose.

The cinematography is gorgeous, and the audacity of the twists can be darkly funny. But thinking about "Cuckoo" afterwards, I feel like I'm missing the key to making sense of and really connecting with it.

Violent, laugh-out-loud funny, and often cartoonishly macabre, The Monkey is everything "Longlegs" is not, and yet it fits perfectly in Perkins' larger body of work. And like "Longlegs," it's a horror experience that should not be missed.

It's a nice enough movie, and honestly it might just be the best possible version of a live-action adaptation of its source material. But if you're expecting anything more than an almost exact shot-for-shot remake, you may be disappointed.

The majority of the movie is great. Funny and zesty, but still with something to say, Good Fortune is a good time even if the ending leaves something to be desired.

The armies of visual effects teams at James Cameron's disposal struggle to hide the fact he's now on autopilot, expanding the world of Pandora without offering anything that feels particularly fresh. Even the set pieces failed to arouse much excitement.

Black Phone 2 hits, it hits – and that's the case pretty much as soon as they make it up into the mountains. With clever set pieces that utilize Ethan Hawke to his best advantage as an even more disturbing Freddy Krueger, Black Phone 2 ups the creepiness factor.

As a frenetic, chaotic glimpse at the making of a doomed-to-fail sketch comedy series that has somehow lasted for 50 years, Saturday Night is a blast.

Overall, this is a comedy that doesn't skimp on the sentimental stuff, although it never comes off as cloying or overly sweet.

George Clooney and Brad Pitt have wonderful chemistry together, as always, and they make sense as two wily, slightly over-the-hill fixers, but Wolfs itself is relatively uninspired.

Florence Pugh and Andrew Garfield are both preternaturally likable, and it's their performances and chemistry together that helps We Live in Time stand out from the crowd. Even so, the film's gimmick and its two glittering stars aren't quite enough to elevate this into must-watch territory.

Jeremy Allen White, Jeremy Strong, and especially Stephen Graham do their level best, but they're let down by a bafflingly inept script and unimaginative filmmaking from Scott Cooper.

The Drama is a very well-crafted, never-boring dark comedy that is unfortunately completely broken at its core, handling a loaded premise in ways that are unbelievable at best and offensively tacky at worst.

This is the only genre where you can paper over the flaws with a handful of well-staged set pieces, and thanks to Timo Tjahjanto, it manages to upstage the original on that front.

For someone enamored with the Wick-verse who just wants a new fix from that world, Ballerina is an unequivocal success. Ana de Armas holds her own as Eve Macarro, a dancer turned assassin trained by the same family that made John Wick such a violent threat.

Novocaine is packed full of inventive action set pieces that are alternately gruesome, goofy, and sometimes even both at once. It may not be for everyone, but it kind of feels like the gold standard for this very specific brand of action comedy.

It's at once a fun and crowd-pleasing picture in that classic's vein as well as an extrapolation of what worked so well in the last outing. 

It's difficult not to fall in love with all of the characters in the film, and its breezy sense of humor makes Eternity a veritable crowdpleaser.