The Brutalist is destined to become a classic.

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.

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.

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.

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.

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.

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

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.

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

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. 

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.

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

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

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.

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.

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.

While some of the old magic might be a little lost in translation, "Beverly Hills Cop: Axel F" still manages to deliver just about everything we could have hoped for from a legacy sequel in this franchise. It's funny, it's action-packed, it's got heart, and it's got Eddie Murphy proving once again that he's still got it. What more could you want?

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.

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

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

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.

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.

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

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.

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.

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