All posts by Stephen Michael Brown

I've reviewed films for more than 40 years, since junior high school - and film critique was my college thesis project at University of South Carolina Honors College. My movie review and news site Silver Screen Capture includes current film reviews of both theatrical releases and streaming movies, with content added weekly. Many capsule critiques originally appeared in expanded form in my syndicated Lights Camera Reaction column. I will be at Toronto International Film Festival in September 2026.
2026

Early Review: Cartoons Hold Court in Creative Comedy “Coyote vs Acme” 

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After decades of explosions, collapses and malfunctioning rocket skates, Looney Tune Wile E. Coyote hires a struggling personal injury lawyer played by Will Forte to sue the Acme Corporation, an inspired premise since no consumer has suffered more from a corporation’s dangerously defective wares. The resultant courtroom comedy adventure is thankfully more Roger Rabbit than Cool World on the live-action/animation hybrid quality continuum. Dave Green’s Coyote vs Acme (B-) captures the classic cartoons’ comic rhythm, from Wile E.’s determined preparations to the inevitable moment when gravity takes hold. Forte is well cast as the Coyote’s human counterpart, another sad-sack schemer whose elaborate plans rarely produce the desired result. John Cena supplies cartoon-villain energy as the Acme attorney, although his performance remains stuck at its loudest setting, while Lana Condor is underused as the levelheaded legal intern. Appearances by cartoon characters such as Foghorn Leghorn and the Tasmanian Devil provide welcome bursts of personality, even when they feel more like cameos than essential parts of the story. The screenplay keeps complicating its wonderfully simple courtroom concept with a conventional redemption arc, an expanding corporate conspiracy and an oversized action finale. Still, Wile E. proves surprisingly capable of carrying a feature, and his indestructible insistence gives the movie more heart than expected. The film contains a few defective parts, but its inspired slapstick and affectionate character work keep the overall package from blowing up in the audience’s face.

2026

“The End of Oak Street” a Rousing Suburban Family Adventure 

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Anne Hathaway continues her 2026 cinematic dominance tour as the most believable character in the high-concept madness of dinosaurs invading ‘80s suburbia in David Robert Mitchell’s enjoyable adventure The End of Oak Street (B). Opposite a more subdued Ewan McGregor (his American accent roles are not as good), Hathaway shines as the mother, wife and closet fantasy novel writer who discovers her cul de sac has been transported to the Cretaceous era. The Spielbergian art direction and tropes are enjoyable as the teens secretly know their parents are having marital trouble, but the existential dread soon has tails, teeth and claws. It’s a stirring and heartfelt adventure with lots of plot holes and perhaps not the most sterling supporting cast or script. But there’s great joy in fighting against the dino invasion and perhaps saving the domestic unit. Mitchell’s movie milks the most from its prehistoric meets pop cultural milieu. 

2026

Sapphic, Graphic, Splendid “Camp Miasma” Unpacks a Wallop

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Prepare for a flesh mob of desire and delirium, voyeuristic verve and meta mayhem as Jane Shoenbrun’s Teenage Sex and Death at Camp Miasma (A) delivers its potent and cerebral poly-genre selves to the screen. This ambitious auteur’s boogeyman babylon is carrying enough baggage to unpack over multiple summers and sequels of sleepaway camp misadventures, and it’s rarely anything but mesmerizing. The plot follows a movie director (Hannah Einbinder, vulnerable and surprisingly even more layered than her TV work) scouting for a years-later reboot of a slasher series hatched in a bygone era. The filmmaker becomes fixated on casting the reclusive actress who portrayed the original “final girl” (a vexing and fascinating Gillian Anderson, somehow with Dolly Parton-style Southern accent). Set at the stark scene of the crimes of the first film in the fictional franchise, this wise work lovingly reframes the slasher genre entirely, remixing the eroticism of awakened carnal pleasures in the form of virginal victims combined with the carnage inflicted by a nocturnal nemesis out for blood. The campground phantom in this case is called “Little Death,” whose lacy frocks are matched with a mask appearing like Salvador Dali invented an HVAC vent to a perplexing infinity. Those expecting an all-out bloodbath will get only a few moments of triumphant truncated transfusions to nowhere as most of the more cerebral film fixates on the relationship between the two central characters. Talky, creative contours filled with horror film conventions serve as a veritable field guide and orientation compass for unknotting the tropes course of both movies and humanity. Einbinder is rather divine as the central protagonist grappling with identity, and Anderson is great fun unlocking mysteries of her own between preparing fried chicken picnics and fusing time and space. From the spry nostalgic music to witty callbacks and flashbacks to flat-out nightmarish visions plumbing the depths of gender and storytelling, this is a significant indie knockout. Shoenbrun demonstrates again they are preternaturally prepared for such a dandy candyland through the heart of the splatter.

2026

“Spider-Man: Brand New Day” Mostly Swings into Success

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Destin Daniel Cretton’s Spider-Man: Brand New Day (B+), the title character’s standalone fourth film, is two movies in one: an excellent film about the hero coming to terms with re-establishing his secret identity, throwing himself into crime fighting while his friends march on with life, and a seemingly studio shoehorned extended epilogue about a much less interesting character. I wish they’d stopped at the Spidey part. Tom Holland is superb in the lead as he discovers new expansions and limits to his powers and reconciles his lonely lifestyle. Jon Bernthal, Florence Pugh and Mark Ruffalo play off his character nicely as MCU colleagues. Zendaya and Jacob Batalon provide series nostalgia as the hero’s sidelined friends. In the film’s best parts, the director summons authentic atmosphere on the streets of New York with ample comic book style action and better, more realistic practical effects than in recent Marvel outings. It’s all pretty great until it shape shifts into something else for a while to set up the next stage of studio synergy and emerging characters. That would be fine if said character were of interest. Still, as a summer blockbuster with a favorite character, this movie is a largely triumphant juggernaut.

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

”Tony” is a Great Final Dish of Summer 2026 Cinema

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The secret sauce invigorating a delightful new coming of age tale is, well, everything! Each hand-picked accessory in director/co-writer Matt Johnson’s kitchen cabinet is simmering to some sort of specialized perfection in Tony (A), a biographical dramedy from A24 about Chef Anthony Bourdain at age 19 in Cape Cod circa 1975. Artfully presented and splendidly crafted, this memoirs-inspired slice of life begins with the iconoclastic title character, impeccably portrayed with his own brand of hang-dog imposter syndrome by Dominic Sessa, explaining the “Bildungsroman” he is crafting as a wannabe writer, only to fall into an adventure in an unexpected kitchen with implications fathoms deeper than he could have possibly anticipated. The multitude of truths embodied in this character poses a fascinating linchpin for the ensemble, with Emilia Jones shining as the woman inspiring his journey and Leo Woodall chewing scenery as the boorish (and hilarious) co-conspirator of the protagonist’s worst impulses. A rarely-better Antonio Banderas beautifully embodies the Brazilian-born seaside chef and restauranteur providing tutelage to a crew of prodigals. Frequent PTA collaborator Michael Bauman is a deft cinematographer for this project, evoking sublime atmosphere of an almost hypnotic time and place. Jay McCarrol’s music with iconoclastic needle drops underscores the tale with singular ease, setting just the right blend of awkward yearning and origin-story braggadocio. Johnson lets Sessa’s Bourdain  be an abject disaster far longer than many would, all the more fulfilling for viewers experiencing the character’s rise to a hint of the promise of culinary and personal triumph. This movie falls in Good Will Hunting territory, a classic of scrappy youth and mentorship, peeling the layers of a ripening onion for the layers of possibilities. This is cinematic Lobster Thermidor of the first order, and you’ll want the creamy blend of shallots, mushrooms, garlic, white wine and Dijon mustard in ample doses with that main course diced and mixed in before being returning to its shell for a final bake, topped with cheese and broiled with golden goodness.










2026

Nolan and Damon Contend for Homecoming King in “The Odyssey” Epic

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Before nearly everything goes wrong for him, Odysseus, famed Greek King of Ithaca, had one really good idea – or did he? As embodied by Matt Damon, this celebrated architect of an elegant and deadly war tool finds the fragments of his life flashing before him Oppenheimer-style (i.e. in either no particular order or in an absolutely meticulous series of absorbing episodes) in a way only writer/director Christopher Nolan could summon to the screen. The acclaimed director’s The Odyssey (A-) is epic in every conceivable way: high adventure on the open seas, palace intrigue, brutal battles, the ultimate hero’s journey and a theory behind the case of Homer’s epic poem that cracks it open like a seismic siren song. Damon is fantastic in the jacked but world-weary central role, and Anne Hathaway and Robert Pattinson are solid and a little campy as his estranged wife and her villainous suitor, respectively. The rest of the star-studded cast takes a bit of a dramatic back seat to the spectacle, stop-motion animation and visceral clarion call of it all. The adventure sequences are absorbing and march to a persistent drummer (his name is Ludwig Göransson) including Trojan War flashbacks, an encounter with Cyclops, an unconventional pig pickin’ with a witch and an obligatory trip to hell. Hoyte van Hoytema’s all-IMAX cinematography is a wonder to behold in both sweeping vistas and intimate chambers. At times the film is a more unpleasant and grisly experience than some might expect, but you do have to descend into darkness to ever find the light. The final act is pretty satisfying after it gets adrift for a spell. All in all, a great escape, a magnum opus with a bit of Big Think thrown in; in other words, it’s Nolan through and through. Bountiful, practically-filmed battles and a mostly satisfying human drama make for one of the most ambitious summer movies released in a long time. All hail cinema kings Nolan and Damon.

2026

Accept “The Invite” for Two Generations, Two Couples, Zero Filters

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The table is set and the thirst is trapped when a mysterious Gen X couple – Ed Norton and Penelope Cruz – accepts a dinner party downstairs in their posh high-rise held by Millennials played by Olivia Wilde and Seth Rogen. This delicious dramedy four-hander is The Invite (A), and Wilde does double duty behind the camera as the assured director, working from a crackling script by Will McCormack and Rashida Jones adapting a 2020 Spanish-language film. This Sundance sensation is an acerbic examination of marital bitterness and unfulfilled fantasies, and all four performers are simply fantastic in tailor-made roles. Director Wilde is masterful with the tone, delivering arguments and bursts of comedy and pathos in pitch-perfect courses. She’s also a hoot as the character most wanting to impress the group within the ensuing chaos. Rogen has rarely been better as the Everyman protagonist who mutters most of what he’s thinking. It’s also wonderful to reunite with Norton and Cruz in juicy roles; she particularly shines with a decisive presence. It’s frankly a brilliant screenplay well lensed; and despite being a story mostly contained to living and entertaining quarters, it charts a brisk long day’s journey. Don’t let anyone spoil the secrets; if you’re an adventurous filmgoer, you’ll want to RSVP the moment this Invite gets tendered.

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.