2026, Industry News

Fall of Fame: 2026 Movie Preview

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After a summer dominated by tentpole adventures, family fare and even YouTube creator vision sensations, September ushers in one of the year’s most fascinating stretches for movie lovers. Animation, horror reboots, prestige dramas and festival favorites begin arriving in theaters as studios position films for both commercial success and year-end awards consideration. While many of these titles will expand gradually following premieres at Venice, Telluride, Toronto and New York, audiences can expect an unusually diverse lineup throughout the month.

Sept. 4

How to Rob a Bank: Director David Leitch, whose energetic style powered Bullet Train, returns with an elevated crime caper with Nicholas Hoult leading an ensemble cast outwitting law enforcement while navigating betrayals from within the criminal underworld.

Sept. 11

Practical Magic 2: Susanne Bier’s sequel to a cult favorite crowd-pleaser from a quarter century ago, reunites Sandra Bullock and Nicole Kidmana, revisiting the magical family curse that has haunted the Owens women for generations. Expect a younger coven in the mix too.

Sept. 18

Resident Evil:  After years of action-oriented adaptations, the video game inspired franchise returns to its survival-horror roots. Director Zach Cregger, whose Barbarian and Weapons became some of the most acclaimed horror films of the decade, emphasizes suspense, isolation and psychological terror over explosive spectacle as a small group of outbreak survivors desperately attempt to escape as terrifying biological experiments spread. Austin Abrams and Paul Walter Hauser star.

Sept. 25

Forgotten Island: This brand-new original DreamWorks/Universal animated fantasy adventure centers on explorers who stumble upon a mysterious island untouched by modern civilization. Hidden beneath its breathtaking landscapes are magical creatures, forgotten kingdoms and secrets capable of changing the world. Dave Franco and Jenny Slate head the voice cast.

Primetime:  Acclaimed documentarian Lance Oppenheim makes his narrative feature debut with this A24 prestige project starring the ubiquitous Robert Pattinson. Inspired by the media phenomenon surrounding To Catch a Predator, this film examines ethical compromises made by journalists, producers and audiences in pursuit of ratings.

October is traditionally where awards season begins to take shape, and 2026 may feature one of the strongest October lineups in years. Oscar hopefuls from acclaimed filmmakers share the calendar with literary adaptations, comic book films, animated adventures and more IP projects. Whether audiences are searching for prestige dramas or crowd-pleasing entertainment, nearly every weekend offers something noteworthy, with some films still jockeying for their exact weekend.

Oct. 2

Digger: Oscar winning Birdman director Alejandro G. Iñárritu centers Tom Cruise as an enormously influential man racing to convince humanity he alone can solve a worldwide catastrophe that he may have helped create. Sandra Hüller, Riz Ahmed, Jesse Plemons and John Goodman support this mysterious satire.

Verity: Colleen Hoover’s bestselling psychological gothic mystery thriller comes to the screen under the direction of Michael Showalter. A struggling writer (Dakota Johnson) accepts the task of finishing a popular series by an incapacitated author (Anne Hathaway) only to discover disturbing manuscripts hidden inside the family’s home. Josh Hartnett co-stars.

Oct. 9

The Social Reckoning: Aaron Sorkin writes and directs this fact-based companion piece to The Social Network, chronicling how Facebook whistleblower Frances Haugen risked everything by partnering with Wall Street Journal reporter Jeff Horwitz to expose the company’s internal knowledge of the platform’s impact on users, teen mental health and global events. Mikey Madison stars as Haugen, with Jeremy Allen White as Horwitz and Jeremy Strong taking over the role of Mark Zuckerberg in a drama exploring the real-world consequences of social media’s unchecked power.

The Legend of Aang: The Last Airbender:  Avatar Studios continues one of animation’s most beloved universes with its first feature centered on an adult Aang. Years after the original series, Team Avatar reunites to confront a new threat capable of disrupting the fragile peace they fought so hard to establish. The fantasy film features voice actors Eric Nam, Jessica Matten, Steven Yeun and Dave Bautista.

Other Mommy: Director Rob Savage, whose intense style helped define films such as Hostel and The Boogeyman, returns with a supernatural horror thriller starring Jessica Chastain as a desperate mother fighting to protect her young daughter from a malevolent, closet-dwelling entity manifesting as her exact doppelgänger. 

Fjord: Following its Palme d’Or triumph at the 2026 Cannes Film Festival, Neon positions Cristian Mungiu’s latest as one of the season’s premier international awards contenders. Set in a remote Norwegian fjord, the drama follows a devout Romanian-Norwegian family whose close-knit relationship with their neighbors unravels after signs of possible child abuse spark a community reckoning over faith, parenting and cultural values. Starring Sebastian Stan and Renate Reinsve, this emotionally charged moral drama explores the clash between traditional beliefs and progressive society through Mungiu’s characteristically nuanced lens.

Oct. 16

Street Fighter: Director Kitao Sakurai blends stylized action with colorful personalities in hopes of launching a successful new franchise based on the video game. As the world’s greatest martial artists gather for an international tournament, they uncover a conspiracy. Andrew Koji, Noah Centineo and Jason Momoa star.

Oct. 23

Clayface: Director James Watkins heads into darker territory for James Gunn’s DC Studios with an origin story unlike any previous superhero film. A gifted actor (Tom Rhys Harries) becomes the victim of a horrifying scientific experiment that transforms him into Gotham City’s shape-shifting monster. Naomi Ackie and Eddie Marsan co-star in this body horror thriller.

Klara and the Sun: Based on Kazuo Ishiguro’s acclaimed novel, Taika (Jojo Rabbit) Waititi’s film unfolds through the perspective of Klara, an “Artificial Friend” (Jenna Ortega) purchased to care for a chronically ill teenager. As Klara observes the complexities of human relationships, she develops an extraordinary understanding of love, sacrifice and hope in a film featuring  Amy Adams.

Oct. TBD

La Bola Negra (The Black Ball):  Inspired by an unfinished work from Federico García Lorca, this sweeping Spanish drama co-directed by Javier Calvo and Javier Ambrossi explores the lives of three gay men living in different generations whose stories become emotionally intertwined across decades of history. Following its acclaimed festival debut in Cannes, the film has emerged as one of the year’s most celebrated international productions. Penélope Cruz, Guitarricadelafuente, Miguel Bernardeau and Carlos González star in this Netflix production which will get a “platform release” of limited theatrical distribution before streaming.

Bunker:  Oscar-winning playwright and filmmaker Florian Zeller (The Father) returns with an intimate psychological drama centered on a married couple (Penélope Cruz and Javier Bardem) sheltering underground during an escalating international crisis. As isolation intensifies, long-buried resentments and fears begin to surface.

Possible Love: Acclaimed Korean filmmaker Lee Chang-dong (Burning) focuses on two married couples (Jeon Do-yeon, Cho Yeo-jeong, Sul Kyung-gu, Zo In-sung) connecting while collaborating on a documentary project, forcing each person to confront difficult truths about love, loyalty and regret.

Ink:  Danny (Slumdog Millionaire) Boyle examines the evolution of modern media through the story of newspaper publisher and Fox News maven Rupert Murdoch, played by Guy Pearce. Rather than functioning as a traditional biopic, the film explores the growing influence of tabloid journalism and its impact on politics, entertainment and public opinion.

If late October belongs to critics, November belongs to everyone. Studios begin rolling out their biggest holiday attractions while prestige distributors expand acclaimed festival favorites nationwide. Family films, historical dramas, literary adaptations and blockbuster franchises all converge during one of the busiest moviegoing months of the year.

Nov. 6

The Cat in the Hat: One of children’s literature’s most beloved troublemakers returns in a completely new animated adventure inspired by Dr. Seuss’ timeless classic. Rather than simply retelling the original story, the filmmakers expand the Cat’s whimsical universe with new characters, elaborate visual set pieces and plenty of playful humor for audiences of every age. Bill Hader lends his unmistakable comic energy to the voice of the title character, opposite Quinta Brunson, Xochitl Gomez and Bowen Yang.

Wild Horse Nine: Martin (Banshees of Inisherin) McDonagh reunites with longtime collaborator Sam Rockwell. Set on a remote island, the dark comedy follows a collection of morally questionable characters whose ambitions, betrayals and long-held grudges erupt into increasingly outrageous confrontations. John Malkovich headlines a remarkable ensemble with Steve Buscemi and Parker Posey, expected to include droll dialogue.

Club Kid: Inspired by New York’s legendary nightlife scene, Jordan Firstman’s Club Kid explores ambition, identity and celebrity within an underground culture where reinvention becomes both liberation and obsession. A24 continues its tradition of releasing stylish, character-driven dramas aimed at adventurous moviegoers. With a colorful visual style and energetic soundtrack, the film promises to capture the excitement and excess of an unforgettable era. Cara Delevingne and Diego Calva headline. 

Nov. 13

Paper Tiger: James (Armageddon Time) Gray’s latest drama examines the emotional consequences of power, ambition and family loyalty through the story of siblings forced to confront decades of hidden resentment after a shocking personal revelation. Adam Driver, Scarlett Johansson and Miles Teller star in this Neon prestige pic.

Nov. 20

I Play Rocky: Peter (Green Book) Farrelly celebrates an inspiring cinematic success story. Rather than just chronicling the making of Rocky, this biographical drama focuses on Sylvester Stallone’s extraordinary determination to bring his screenplay to life despite repeated setbacks. Anthony Ippolito portrays the young Stallone during the pivotal months that forever changed his career.

The Hunger Games: Sunrise on the Reaping: Returning to Panem a quarter century before Katniss Everdeen volunteered as tribute, this prequel follows teen Haymitch Abernathy (Joseph Zada) who is selected for the brutal Fiftieth Hunger Games, aka the Second Quarter Quell. Francis Lawrence returns to direct another chapter in Suzanne Collins’ universe, with Ralph Fiennes portraying President Snow decades before the original films. Elle Fanning, Jesse Plemons, Mckenna Grace, Maya Hawke and Kieran Culkin round out the ensemble.

Nov. 25

The Adventures of Cliff Booth: David Fincher takes an unexpected detour into Quentin Tarantino territory with this follow-up to Once Upon a Time… in Hollywood, written by Tarantino and returning Brad Pitt to his Oscar-winning role as stuntman Cliff Booth. Set years after the original film, the story finds Booth working as a Hollywood fixer in the changing movie industry of the 1970s. The ensemble includes Elizabeth Debicki, Scott Caan, Timothy Olyphant and Peter Weller. Netflix gives the film an exclusive two-week global IMAX run beginning before it begins streaming Dec. 23. 

Focker-in-Law: More than two decades after audiences first met this awkward extended family, Universal reunites much of the original cast for more awkward reunions, impossible expectations and escalating misunderstandings. This time, a new generation of relatives complicates an already chaotic family dynamic. Writer/director John Hamburg returns with Ben Stiller, Robert De Niro, Teri Polo, Blythe Danner and Ariana Grande.

Hexed: Disney looks to reclaim a hint of Thanksgiving box office dominance with a fantasy adventure animated feature centered on an ancient curse unexpectedly transforming the lives of an ordinary family. Hailee Steinfeld and Rashida Jones headline the voice cast.

Every December promises movie magic, but 2026 may deliver one of the most competitive holiday seasons in modern memory. Superheroes, science fiction epics, fantasy adventures, horror, family animation and prestige dramas all crowd multiplexes within a few short weeks. For movie lovers, it may be impossible to see everything before the calendar turns to 2027.

Dec. 4

Violent Night 2: After turning Santa Claus into an unlikely action hero in the surprise 2022 hit, director Tommy Wirkola reunites with David Harbour for another gleefully over-the-top holiday adventure balancing outrageous violence with surprisingly heartfelt holiday sentiment. The sequel is expected to send its gruff St. Nick into another battle against criminals who have made the mistake of ruining Christmas.

Dec. 11

The Debut: Jesse Eisenberg directs and writes (including songs) this character-driven drama set in the theatre world about an aging performer forced to reconsider artistic ambition, mentorship and legacy. Julianne Moore and Paul Giamatti headline what promises to be one of the year’s strongest acting showcases from A24, building on expected buzz from Toronto Film Festival. The movie blends humor, music and emotional honesty into an expected heartfelt examination of ambition, reinvention and the sacrifices required to pursue creative fulfillment. 

Clarissa: Neon continues its awards-season drip campaigns with this specialty Nigerian drama centered on a woman confronting a series of life-changing personal decisions. Directed by Arie and Chuko Esiri, this character study reimagines Virginia Woolf’s Mrs. Dalloway character in contemporary Africa, following a society woman preparing for a party and reflecting on her past. Starring Sophie Okonedo, David Oyelowo and Ayo Edebiri, this film premiered at the 2026 Cannes Film Festival.

December 18 brings two blockbusters, Avengers: Doomsday and Dune: Part Three, on the same day. Is it double the box office as “Dunesday” (or with Florence Pugh in both, is it a “Free-Flo” or a “Florence-torrent”)? This clash of tentpole titans will be worth watching closely. 

Dec. 18

Avengers: Doomsday:  Marvel Studios launches its next cinematic event bringing together heroes from across the Marvel Cinematic Universe, the Fantastic Four and the X-Men. At the center stands an unexpected adversary: Robert Downey Jr., returning to Marvel not as Iron Man, but as the legendary Victor Von Doom. The Russo brothers helm a multiverse-spanning spectacle inspired by Marvel’s acclaimed comic storylines. Chris Hemsworth, Paul Rudd, Anthony Mackie, Florence Pugh, Ryan Reynolds, Simu Liu and Sebastian Stan are among the sprawling ensemble.

Dune: Part Three: Denis Villeneuve returns to Arrakis for the concluding chapter of his adaptation of Frank Herbert’s original saga, drawing heavily from Dune Messiah. Now Emperor, Paul Atreides (Timothée Chalamet) discovers that victory has brought consequences far beyond anything he imagined as political conspiracies, religious fanaticism and personal tragedy threaten everything he fought to build. Zendaya, Florence Pugh, Anya Taylor-Joy and returning Jason Momoa co-star. 

Dec. 23

The Angry Birds Movie 3: The titular winged characters including voice talent of Jason Sudeikis, Danny McBride, Josh Gad, Keke Palmer, Lily James return for another animated adventure inspired by Rovio’s enormously popular mobile game franchise. This time, an unexpected alliance forces longtime rivals to work together against a threat capable of disrupting life across Bird Island and beyond. We suppose audiences will flock.

Dec. 25

Jumanji: Open World: The blockbuster franchise reaches its next chapter with a twist: instead of people entering the game, the game’s avatars escape into the real world. As the digital and human worlds collide, familiar heroes must stop increasingly chaotic consequences before reality itself spirals out of control in Jake Kasdan’s sequel with Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Awkwafina and Danny DeVito.

A Place in Hell: Following the success of Fair Play, Chloe Domont returns with another morally complex thriller. Michelle Williams stars as an elite attorney whose carefully constructed professional life begins unraveling after she becomes involved in a deeply troubling legal case. Andrew Scott and Daisy Edgar-Jones co-star.

Werwulf: Following The Witch, The Lighthouse, The Northman and Nosferatu, Robert Eggers returns to historical horror with a chilling tale rooted in medieval folklore. Set centuries before the modern werewolf myth became popularized, the film explores superstition, religious fear and survival in an isolated European village haunted by an ancient predator. The cast includes Aaron Taylor-Johnson, Willem Dafoe and Ralph Ineson.

Whether you’re drawn to intimate independent dramas, international cinema, family animation, pulse-pounding action or ambitious science fiction, this fall offers a notable lineup. It promises to be a season that reminds audiences why the communal experience of discovering movies on the big screen remains as exciting as ever.

2026

“Moana” 2026: Hook, Line and Stinker

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Disney’s live-action Moana (C-) directed by Thomas Kail is one of those rare remakes that might have worked better as a radio play. Without having to stare at its relentlessly artificial soundstage settings, audiences could simply enjoy the songs, the story and the engaging vocal performances. Newcomer Catherine Laga’aia makes for a warm, charismatic title character, while Dwayne Johnson remains an effortlessly appealing Maui whose cocksure screen presence transcends the film’s digital overload. Like the animated original, the first act charts an inviting course before the adventure drifts into increasingly repetitive waters. Kail rarely summons a convincing visual language for bringing this fantasy world to life, leaving the production looking more like synthetic surf and turf than ever magical. Nearly every frame feels smothered in effects that flatten rather than expand the sense of wonder. Ironically, the two leads provide enough charm to keep you listening even when your eyes are pleading for mercy. Had Disney trusted our imaginations instead of these atrocious visual effects, Moana might have sailed much farther.

2026

New Generation is Served Sublime Romcom “Voicemails for Isabelle” 

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The latest iconic romcom lead character is a rising San Francisco culinary star, and it’s telling she whips up a fascinating banquet of bittersweet. Writer/director Leah McKendrick’s Voicemails for Isabelle (B+) centers Zoey Deutch’s Jill who regularly leaves phone messages for her late sister, Isabelle (Ciara Bravo), to cope with her grief, but the number has been reassigned to real estate agent Wes (Nick Robinson), who falls for Jill through following her outrageous and confessional messages recalling raunchy and romantic exploits her sick sibling could never experience herself. Deutch is absolutely wonderful as the multidimensional protagonist; viewers will relish her ribald humor and utter vulnerability. Robinson is winning as the sturdy love interest and gives his role some bite, even while his character falls victim to some of the shortcut tropes of the genre. McKendrick deftly explores themes of grief, and connection, with genuinely felt emotional beats and lots of nifty needle drops (the catalogue of pop star Robyn gets a distinctive showcase). The film also features a funny Nick Offerman as Jill’s mercurial culinary boss, providing additional reasons for our heroine to question if she’s really getting all she wants. Although there are some witty callbacks to Nora Ephron’s modern classics about crossed communications, McKendrick makes the milieu distinctly her own. Deutch and her director instinctively vibe here, and viewers will find this Netflix production gives us canny and convincing summer entertainment.

2026

Prepare Your Gag Reel Reflex for Mixed Bag of “Jackass: Best and Last”

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For a movie with so many charged objects – from snakes to lip injectors to bungee cords to rectal projectiles and even a handsy robot – there’s only so much spark left for a fifth and presumed final installment in this notorious scatological and masochistic prank series. Jeff Tremaine’s Jackass: Best and Last (C) is another slapstick stunt anthology filled with outrageous new scenarios along with several exhumed from the vaults of the show rooted in MTV’s golden reality show age. With ring leader Johnny Knoxville on the edge of age 50 accompanied by graying hooligans such as Steve-O and Chris Pontius, there’s occasionally an elegaic or valedictory vibe to the installment and as much sentiment as can be squeezed between the margins of the machismo, the candor of their camera and the “we’re getting old” hot takes on colonoscopy and prostate exams. This funhouse of generally well-meaning male bonding is as successful as it is head-scratching in equal Evel Kneivelesque doses, with a human marionette extravaganza, a full-frontal Olympic competition, an unexpected product plug for a toy car and more curtain calls than The Return of the King. These Grand Guignols of gross-out humor even manage to coerce cameos out of Brad Pitt and Paul Walter Hauser. But many of their experiments neither amuse nor titillate, leaving the perpetually tickled troupe to tread water. Their ride into the sunset is not intended to leave these guys with any dignity, but undoubtedly this film will brings some smiles to viewers’ faces as much as a slack to their jaws.

2026

“Supergirl” of 2026 is Experiencing Her Rebound Era

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Kara Zor-El is clearly rebounding from interpersonal trauma as Craig Gillespie helms her big-screen reboot in the 2026 version of Supergirl (B), equal parts trial and era. Flying and fighting through the lightning strikes means this Kryptonite is mixed with a little opalite, to speak swiftly. It’s not a movie of big swings, soaring prose or eyes-on-the-skies wonder but rather the ramshackle tale of a troubled prodigal fending off her worst impulses and awakening into her benevolent powers. The atmosphere and antics around the central character are sometimes a messy mixed bag, but there’s no question Milly Alcock is both transfixing and tender in her bold take on the superheroine. She doesn’t need a ten-minute song or fifteen minutes of fame for viewers to recognize the pathos in her eyes as her snarky-exterior character binge-drinks herself into a stupor, outrunning the poison and power of solar orbs and outracing demons from her past she knows all too well would haunt her in full lucidity. The film’s biggest stumbling blocks are of momentum and pace; there’s one particular race against time that plays out on its own meandering beat, clear hands of that cosmic clock be damned. But in terms of Supergirl’s sisterly relationship with a similarly wounded character warmly played by Eve Ridley; juxtaposed with her ill-behaved pup companion Krypto; and opposite her more by-the-books earthbound cousin (David Corenswet great in a trio of extended cameos), she demonstrates deep heart and a capacity for goodness. There’s a subplot about sex trafficking and a few under-the-breath lines which are more subversive than expected; it’s certainly not all a bowl of cheery. Both the lived-in quality of this creative universe and fascinating flashback origin story lore contour and enrich the proceedings. Jason Manoa is perfectly in place as emerging character Lobo (think The Kurgan meets Beetlejuice meets Han Solo) on planets evocative of a Mad Max dystopia. Matthias Schoenaerts is rather upstaged as the primary villain in this dusty vista; his arc feels pretty underwritten. The overall film is not quite the action extravaganza nor the unabashed dramatic triumph necessary to help it convincingly attract detractors, but the movie is peculiar in many ways and far from boring. The same people who declare the comic book movie dead and buried (it’s been a year since we’ve seen cinematic capes) will certainly return to theatres for Peter Parker’s ninth above-the-title film outing within weeks. Meanwhile Supergirl is worth the trip: it builds on James Gunn’s punk rock universe, develops characters including a central hero with full and complete agency and transports its viewers to some interesting places both physical and metaphorical. It’s certainly not the Omegahedron in the punch bowl some have made it out to be, and mostly it’s a bit of a rush. It dares you to stare both at the sun and in the mirror rooting for this unexpected hero.

2026

“Toy Story 5” Teaches Kids to Play Nice in Screen-Addicted Age

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Toy Story 5 Disney Pixar

Girl dads rejoice, as the latest film in a long-standing Disney-Pixar franchise puts female friendships front and center with salient lessons about finding one’s value in a cynical era missing the simple joys of play, with youngsters increasingly isolated by the FOMO of technology. A somewhat fussy and scattered plot comes into clearer focus as young Bonnie (voice of Scarlett Spears), Jessie the Yodeling Cowgirl (Joan Cusack) and a frog-shaped smart tablet named Lilypad (Greta Lee) take center stage in Andrew Stanton’s Toy Story 5 (B+). Surrounded by her treasure trove of personified playthings including her beloved pull-string rag doll and trusty steed, Bonnie trusts her new high-tech tablet will grant her the glow-up to make new online acquaintances and friends IRL. But the tricky technology causes radical riffs for both humans and toys, and Woody (Tom Hanks) and Buzz (Tim Allen) re-team to restore balance. This installment uplifts Jessie’s existential crisis as she copes with abandonment issues, and the resulting sentiment including a return to her original ranch is truly moving. The animation is better than ever, with a parallel pop of fun line-art renderings depicting the dream life of the series’ classic characters. Additionally, the ensemble of familiar friends provides a funny peanut gallery for the pensive proceedings. The revelation here is Conan O’Brien, the hilarious voice of Smarty Pants, an abandoned toilet-training tech toy whose brazen bathroom humor torpedoes him to either #1 or #2 cherished character status. Ultimately this film may appeal even more to adults than kids, as it plumbs issues which could most challenge and break parents’ hearts. This is a solid and possibly corrective entry in the popular film series and will certainly reward viewers of all ages.

2026

Lopez and Goldstein Fill a Few Policy Guideline Loopholes in “Office Romance” Lark

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Plot holes meet policy guidelines in the watchable but barely credible romcom Office Romance (C), directed by Ol Parker, who gives his charming leads just enough trope to hang themselves. Brett Goldstein is both co-star and co-screenwriter, teamed with Jennifer Lopez as two executives maneuvering the mine fields of their airline company’s anti-fraternization rule despite immediate amorous attraction. This is the kind of movie in which any of the “meeting of the minds” obstacles could be solved with an email, so viewers will just need to suspend disbelief and enjoy the best qualities of the attractive leads endeavoring  to maintain their dignity while furtively schtupping in and around the HQ. Lopez’s character is hard-charging CEO of the family aviation business (Edward James Olmos briefly plays her father), and observant viewers will get a kick out of how poorly she portrays someone flying a plane and how inconsistently she gives off “dragon lady” vibes despite workplace denizens constantly cowering. Goldstein plays the company’s in-house lawyer rather shallowly and is best when he lets his freak fly with naughty language and throwaway asides. The chemistry between the leads is ok but certainly not off the charts, and thankfully the comedic sidekick Betty Gilpin is “serving” some droll bonbons to occupy the story’s awkward margins. Tony Hale and Bradley Whitford are both casualties in the slap-shot script, and it’s unclear what influence frequent Wes Anderson cinematographer Robert Yeoman had on the  saccharine, sanitized look of the film. Parker’s movie is a lark and ultimately reveals absolutely nothing about modern-day watercooler politics. It’s hard not to feast one’s eyes though on the luminous true movie star Jennifer Lopez, even in this vapid vehicle when she is (pun intended) not given much to work with. The film is best when it gets peculiar in wordplay or specific in its kinks, which isn’t too often. Anyone who signed up for a story in which the meet-cute involves a hard-on probably didn’t think they were mounting Hamlet and should report directly to HR.

2026, Rent It Tonight

Spielberg’s “Disclosure Day” a Deep-Think for a Deep-Fake World

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The breadcrumbs leading to a close encounter are more contemplative than candy-coated in Steven Spielberg’s latest: if we were luring E.T. himself into the action, it would be done here with a bag of Reese’s Thesis. Spielberg has a lot on his mind, and his Disclosure Day (B) exports many of his deep thoughts to celluloid with a smash-up of paranoid thriller and existential essay. Without spoiling the plot, suffice it to say the  director is interested in knowing if today’s global population of human beings could contemplate, agree on or even properly behold a miracle coming true in the modern world. All aren’t created equal in the film’s ensemble, with Emily Blunt standing head and shoulders over her cast mates as a news personality recently obsessed with perpetual movement toward a singular life event. As a tech expert outrunning the secrets of his sinister former employer, Josh O’Connor is on a similar trajectory toward something leviathan; his part is just less showy and interesting. Much of the movie’s first act is preoccupied with tracking down characters’ locations and leaving the viewer pondering myriad questions; but by the final act, the hot take gets cooking. There’s a propulsive, talky way of getting at some major interconnected issues, with a few magnificently staged chases including one with a crashed car attached to a moving train providing a rousing respite from all the speculating. There is an underdeveloped character (Colman Domingo) assembling others to some sort of makeshift sound stage and a stock villain (Colin Firth) who ultimately doesn’t have much to do aside from, again, finding peoples’ locations. Much of the plot could be curtailed with a good GPS! But by the time the director goes for the big swings about one of his lifelong cosmic preoccupations, he largely sticks the landing. Some action sequences feel long jn the tooth, and the intellectual passages don’t all necessarily pay off. Blunt makes the most of it all as a woman possessed; all the best sequences in the film involve her surreal journey. Wyatt Russell as her love interest is delightful and underused in a flash of comic relief and relatability. John Williams provides workmanlike music for this outing, and the effects are good but not great, with a throwaway line nearly apologizing for the rendering of some of the animal effects.  Janusz Kamiński’s cinematography is stunning; there are lots of sequences with characters reflected together through glass which deepen connections and help themes to gel. Despite many great elements, the film is ultimately a prelude to a great conversation rather than a masterpiece in and of itself.

2026

“The Death of Robin Hood” Sure Takes A While 

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The Robin Hood legend reimagined as grim cinematic endurance test wasn’t on my bingo card. Michael Sarnoski’s moribund and self-satisfied The Death of Robin Hood (D) inexplicably deconstructs and reimagines the titular outlaw as a violent, aging man grappling with his past who finds a chance at redemption through a woman and child. As the lead character, and an antihero to be sure, Hugh Jackman plays against type in nearly every way, including gruesomely killing animals and children in a first act feast of carnage then spending most of the film’s remainder bedridden. He’s committed, I suppose, to the role. Jodie Comer and Bill Skarsgård play underdeveloped supporting characters who make little impression. The prolonged tone poem comprising most of the film’s duration may confound all but the most ardent fans of this myth. This revisionist twist on a classic tale was so far removed from its usual tropes that it might have been just as effective as “the slow death of any old violent mean man.” There are flickers of interesting film composition in this Middle Ages melodrama , and the vocal song over the closing credits made for a nice ditty as our group continued to discuss, slackjawed, what exactly we just watched. If viewers are like me, they will feel equally robbed of rich summer fun time given to the poor souls inhabiting this dim dirge.

2026, Rent It Tonight

“Power Ballad” Asks Who’s the Baby Daddy of the Song Birthed by Paul Rudd and Nick Jonas

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Director John Carney’s continuing exploration of the magnetic attraction of music to bring together unlikely cinematic pairs has now canonically conjoined Paul Rudd and Nick Jonas. The dramedy Power Ballad (B) follows Rudd’s character, a wannabe arena rocker who has settled into fronting a wedding band in Ireland, home to his wife and daughter. One night he drunkenly bonds and musically riffs with the Jonas character, a boy-band member in search of solo stardom. Soon an unexpected global hit song is born, and it’s not totally clear the tune’s baby daddy. It’s nice to see Rudd sink his teeth into an authentic and scrappy character. Jonas is a good fit as well in his role, with confidence cloaking just a dash of desperation. Carney’s film takes a hot minute to gain steam but is worth the patient watch for the payoffs. Jack Reynor is particularly effective as a very direct American music mogul and manager critical to the copyright custody battle of a plot. The movie also hinges on the ear-worm original song titled “How to Write a Song Without You,” and fortunately it’s a banger. With lively performances, at least one hummable new tune joining a bunch of covers sung by the starring duo and a bit of sentiment and Irish charm, it’s an enjoyable entry into Carney’s cinematic songbook. 

2026

”The Breadwinner” a Fun Debut for Popular Comedian

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The Breadwinner

If you enjoy comedian Nate Bergatze, his feature film debut in Eric Appel’s family comedy The Breadwinner (B) is certain to be a fun, old-fashioned, squeaky-clean romp. Although ostensibly a bit retrograde, borrowing from the premise of ‘80s film Mr. Mom, this movie makes the most of the genial nature and observational humor of its star, as his car salesman character takes over domestic duties on the home front while his wife (a plucky Mandy Moore) seeks her destiny as a mom organization inventor in an opportunity abroad. Battles with stove tops and laundry machines ensue, but the best moments in the movie are the protagonist’s interactions with his three daughters (all natural actors) as he maneuvers the minefields of kid emotions. Supporting cast members Colin Jost and  Will Forte are fun too in small parts of this suburban safari. Sure some of the antics are silly, and a few of the choices strain credulity, but it’s generally brisk and buoyant. This largely critically-drubbed outing is fun for families and will likely be a streaming smash when it hits that format.

2026

Unsettling Sleeper Horror Film “Backrooms” Doesn’t Fully Mine the Store

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Until my beloved housekeeper comes to tidy my abode once a month, my inner sanctum sometimes resembles the labyrinth of secret bonus rooms filled with misplaced furniture and piles of clothes the protagonist played by Chewitel Ejiofor discovers in the back of his ottoman superstore. I suppose the devilish discount dreamscape depicted on screen is what is prompting many to call a surprise sleeper hit film assured and atmospheric. Backrooms (C-) is based on a YouTube series by Kane Parsons, who directs and helps compose for the big-screen event. It’s a mystery box set in a big box but doesn’t really know what aisle and shelf it’s working with to deploy its talented cast including Renate Reinsve and Mark Duplass. Along with Ejiofor, the ensemble feels like arbitrary fixtures. All in all, it’s more world-building than storytelling as room after surreal room reveal. The movie is most effective when mining tortured minds, and even then doesn’t fully inventory. The best parts of the movie evoke an absurdity familiar to fans of Salvador Dalí or David Lynch, but the most unsettling passages don’t add up to much. I love that this movie exists and is attracting young people to the cinemas in droves, but its occasional triumphs of visual imagination aren’t generally matched by its bargain basement shortcomings.