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.