07.18.26
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The Odyssey

It’s never a surprise when a Christopher Nolan film proves to be the most epic theater experience of the year. But what constantly continues to impress is his ability to transport us on journeys that feel so much bigger than our own lives, even though they look so much like our own world. Majestic, nail-biting, and outright spellbinding, The Odyssey turns one of the great mythological stories into one of the greatest cinematic journeys ever told. Homer’s epic proves the perfect battleground for Nolan’s love of telling stories out of linear order, and the movement of different storylines and events across time is thrilling to follow and creates an even more powerful experience than if we were to have discovered the story in sequence. Nolan also assembles a massive ensemble cast led by Matt Damon, who leads with a loyalty mixed with a dangerous hubris Odysseus has, who desires to “defy the gods”. Tom Holland gives possibly his best performance yet as Odysseus’ son Telemachus, though Anne Hathaway steals the show in that corner of the story as Penelope. Robert Pattinson and Jon Bernthal are also excellently cast, and Elliot Page is also a special standout, no matter how minor his role is. The many big players who also leave a huge impression include Himesh Patel, John Leguizamo, Lupita Nyong’o, Samantha Morton, and Charlize Theron.

The most incredible effect The Odyssey has is making everything feel real, thanks to Nolan’s disdain for CGI, while we also don’t have the same sweeping extreme wides we’re used to in almost all his other films, at least not the same amount. We’re immersed in the sets that are right in front of our eyes and often look visionary. The action is so thrilling it’ll have you leaning forward into your seat, while maintaining that brutality and harshness that never make the fighting look outright entertaining the way they might in other action epics. Part of what makes the magic so breathtaking is Ludwig Göransson’s score. It’s exhilarating, overwhelming, and grandiose in new ways every scene. Hoyte van Hoytema’s cinematography allows everything to feel real, even though the imagery stems from mythology, and Jennifer Lame’s editing is expertly meticulous. Despite its long runtime, the film moves at a fast pace, and every second matters. Everything we love about Nolan is here: the epic scale, the practical sets, the jumps in time, but the film is so much greater than the sum of its parts. It’s a once-in-a-lifetime adventure that delivers in beauty and scope, demanding to be seen on the world’s largest movie screens, then unpacked, before going back to watch it again, and again, and again.

07.01.26
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The Invite

A conversation between two neighboring couples at a dinner party turns into something far more unexpected and challenging, as the couples are forced to confront the most uncomfortable and hilarious truths.

One of the funniest movies to come out in years, Olivia Wilde’s The Invite is lifted by its leading performances and exploration of ideas in its clever one-location setting. The concept may be something we’re no strangers to, but the fleshed-out couple dynamics, hilarious dialogue, and plot turns make this one quite worth the time and enjoyment. Seth Rogen is giving one of his best performances as a man who counters every situation with honesty, while Wilde’s character is the opposite, her night driven entirely by the gratification of social approval. Edward Norton greatly stands out as someone whose demeanor is perhaps what we’d consider eccentric, but his outlook on people is liberating and free of judgment. Penelope Cruz also gets the chance to show how funny she is, but her character is also the most emotionally intelligent of the bunch.

Though the jokes often come at a rapid pace and deliver laugh-out-loud payoffs, every character remains deeply empathetic, not necessarily despite their flaws or destructiveness, but rather because of them, portraying relationships with a complexity that can be discussed, as well as the multifaceted nature of humans themselves.

06.27.26
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Supergirl

Kara Zor-El, one of the last remaining Kryptonians, reluctantly joins a young girl’s quest for revenge across the galaxy against a powerful adversary.

Milly Alcock is cast well in the titular role, but unfortunately, the material she works with consistently fails to make the character stick with us. Nobody from the supporting cast really resonates, with an awful villain and a dull ally Kara makes along the way, and Jason Momoa’s casting is a bit weird considering the recency of his stint as DC’s Aquaman, even if the performance is fun. 

The movie chooses to go for the most tried and true aspects of the recent slew of superhero action movies, let alone those set in space. None of the world building sticks out in a look that feels too digital and uninspired, while the story we’re given is generic and frankly even empty. Supergirl is introduced to us as a young adult who travels the galaxy binge drinking and spits in the face of virtue. However, the film’s energy doesn’t match her chaotic spirit, instead going for a very black and white “good vs evil” story. The movie ultimately focuses this reckless, hard-drinking drifter with genuine emotional baggage, a unique character, into a very conventional hero’s journey. A few moments of music use feel inspired, as do the very interesting flashbacks to Kara’s origin, which maybe should’ve been placed earlier in the runtime. However, Supergirl has ultimately the same action sci-fi feel we’ve seen so many times before, with a very lackluster visual look and missing of the rebellious tone for the character who needed a far more anarchic and emotional anthem.

06.19.26
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Toy Story 5

When Bonnie brings home Lilypad, a new device she uses to connect and spend time with her friends, the toys must fight to stay relevant and pave the best future for Bonnie they can.

Just when we thought the Toy Story journey concluded and there was nowhere else exciting the franchise could go, this movie series knocks it out of the park for the fifth time in a row, offering a story that feels essential yet expansive, and one that can create some very important conversations between parents and children. The film wisely makes Jessie the protagonist this time around, shifting the focus away from Woody and Buzz’s central friendship and emphasizing Jessie’s position as a leader and confronting her fears of abandonment. It’s also noteworthy that for the first time in the franchise, the female characters are the ones front and center thematically: Jessie and Lilypad’s conflict on how to best help Bonnie adjust to growing up, as well as Bonnie and another key human character the toys come across. Greta Lee is a huge standout as Lily, offering us the best of her comedic and dramatic talents. Conan O’Brien is also delightful as a character whose mere existence is hysterical but his role in the film goes far beyond the initial joke.

Toy Story 5 perfectly uses callbacks to earlier films that feel earned and even expand on the franchise’s arcs in emotional ways, even if Woody overstays his return, considering his powerful conclusion in Toy Story 4. Here, he’s serving as a mentor to the other toys on their journey with Bonnie. A B-plot about a herd of other Buzz Lightyear toys is also hilarious, and overall, every character in the ensemble is in their right place and a joy to have around. It’s always exciting, sweet, and will create important discussions about technology’s ability to help our lives, but also when tech can be too much, and when we need to remember the value of real-life friendships and outdoor activities. It’ll also resonate with audiences of all ages when it comes to the importance of not letting others reshape who you are, and proudly being yourself without feeling ashamed of your interests and personality.

After more than thirty years, the world of Toy Story keeps creating magical memories, conversations, emotions, and stories for all ages, whether old audiences to the Pixar world or new, not just because of the splendid characters and animation, but because of the storytellers behind the adventures, who remind us the importance of the child inside of us, and the most beautiful parts of ourselves that we hold close even as we grow up and change.

06.13.26
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Disclosure Day

Nearly fifty years after Close Encounters of the Third Kind, Steven Spielberg returns to explore the simple idea, how would we react if we learned we weren’t alone? If all we understood about humanity, the universe, and our place in it, changed in an instant? Emily Blunt is giving it her all as a weather reporter whose world — and the way she sees it — is suddenly upended by a new gift. Josh O’Connor is proving himself yet again as a series movie star, allowing us to connect with the darker and more heroic sides of his character. Colman Domingo is a standout as the film’s moral compass and source of charm and brilliance, and Eve Hewson gives her best performance since Flora and Son, with her character adding a theological perspective and debate to the speculation of extraterrestrial life. Colin Firth also gives a complexity to a force that would seem ruthless and antagonistic anywhere else, but Spielberg refuses to carve out traditional villains for us here, at least not the ones we can tangibly perceive.

Boasting the best elements of conspiracy and fugitive thrillers, Disclosure Day exercises restraint very well with how slowly it reveals the scope of information and stakes to us. We’re left somewhat guessing and in the dark for much of the film’s first two acts in a very refreshing way. What makes this film so Spielberg-esque is his relentless optimism, a real and moving kind that shakes the film’s final moments. In a world that’s more plagued with cynicism, today’s generation can finally understand what it was like when Close Encounters arrived, the curiosity about making contact with life from beyond our planet, the wonder of their arrival, and the empathy that’s key to our connection and survival.

06.06.26
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I Love Boosters

A terrific cast is pivotal for a film to entertain at this level, and I Love Boosters boosts a dream cast as well as Boots Riley’s signature critiques of capitalist systems and surrealist imagery. Far less haunting and just as glowing and fun as Sorry to Bother You, the film follows a group of shoplifters decide to take aim at a renowned fashion mogul’s empire, and chaos soon ensues. Riley’s films never obey others’ rules of typical visual storytelling, and his dialogue is hilarious. Keke Palmer continues to shine as a terrific leading star throughout cinema in the last few years, while her dynamics with her group of “booster” friends, played by Taylour Paige and Naomi Ackie, make the film. Paige always stands out, even when she isn’t center frame, she’s always bringing something really entertaining to the performance. Poppy Liu is a huge standout as a character who comes in and shakes things up greatly for the lead characters, and Eiza González is another great addition to the mix. Though Demi Moore’s character occasionally dives into a caricature of conceited affluent fashion voices, Moore’s performance is great and makes what could’ve been a one-note antagonist very interesting.

One other thing that personifies the film’s identity is the stunning costume design. Every setting and scene becomes unique through the stories the costumes tell and the work there is honestly awards-worthy. The film’s twists and turns are engaging, and while some more ambitious scenes get a little confusing when it comes to editing spatially, the surrealism all works and elevates the themes of the abuse of the workforce, and the voice taken from a majority of the population to make the few richest even richer. Riley’s films deconstruct our society with an irreverence but still retain an optimistic heroism at their center. Even when the characters are deeply flawed, they’re so likable, and the ride holds nothing back to create something really original and certainly worth everyone’s time and takes, no matter whether they vary.

05.31.26
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Obsession

Bear wishes for his crush Nikki to love him more than anyone else in the world, but when the wish unexpectedly comes true, things slowly but surely start to get out of hand.

Though we’ve seen many films about “being careful what you wish for”, none have transcended the concept quite like this one into a terrifying and bone-chilling experience that’s destined to become a modern horror classic. The film examines romance, gender roles, and even the tired and true concept of possession in a way that’s far more twisted and demented than any other movie in recent memory.

At is irresistible center is Inde Navaratte, giving one of the best performances the horror genre has ever seen as Nikki. When we first meet Nikki, Navarette allows us to discover a full and layered person and a part of her own story, far greater than the image Bear sees her as, and when the wish begins to take control and basically puppeteer her body, Navarette is chilling in every moment. Her physical commitment is unpredictable as the actor embodies an inhuman entity in a human body, including the physical toll it takes on her. All that also gets so under our skin by reminding us pretty often that this was all our main character’s doing.

The film thrives in ambiguity, including the rules behind its supernatural elements (and the way it presents them through sound in a particularly horrifying scene), and the difference between love and entitlement. When the film starts holding less and less back, we’re not captivated because of the “wish gone wrong” but because this story is ultimately about chivalry and cowardice, and how self-image breaks into a gruesome possessiveness that is too weak to face actual responsibility. Bear may have a sympathetic start, but his willingness to fall into a control while avoiding responsibility for the sickly harm he’s imposed makes us unsettled to be spending such long shots with him so close to us in the frame. Obsession is what begins when love’s uncertainty is removed, and when fantasy becomes a corrupt currency of power. The film’s most horror-like moments are so visionary that they’ll stick with you long after the credits roll. It’s one you’ll need to shake off days later and will likely come to define the 2020s in horror.

05.27.26
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Backrooms

Psychologist Mary Kline must enter a mysterious dimension beyond our own in search of Clark, a furniture store owner and troubled patient of hers.

Backrooms never satisfies with easy answers and clear meaning, and that’s what resonates the most about it. It evolves throughout its runtime, from a perspective, scope, and thematic lens. Expanding on its titular concept with mystery and curiosity as it continues, the movie is always fully aware of its roots within its characters and human nature. It blends claustrophobic and sweeping spaces very well along with found footage moments that are used wisely. The threats aren’t often in frame, but when they are, one in particular reveals itself as one of the most terrifying horror villains in recent memory.

Renate Reinsve is particularly excellent, and the film thrives most when we’re experiencing its events from her character’s eyes. The production design is incredibly impressive and the weird, almost random nature of the titular dimension keeps building more and more intrigue. Setting it during the 90s was also a clever way to address its satire on capitalism and consumerism, and their isolating nature that eats away at the individual’s ambition with the facade of excess and glamour. Beyond that, there’s some dark backstories to our main characters that informs the unusual choices they make, and some images will haunt you long after the credits roll. While the first half is engaging, the second half becomes seriously captivating and subverts all expectations. It never lets you decrypt anything too easily, avoiding straightforward messages and classic three-act structure, but that’s exactly what the unknown of the backrooms are all about, too.

05.26.26
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The Sheep Detectives

George Hardy is a shepherd who reads murder mystery novels to his sheep every night. When George is found dead, his sheep must use the skills they’ve gathered from sleuth fiction and solve a mystery of their own.

Emulating a similar charm for all ages to Paddington and Wonka, this delightful family film never stops entertaining, while unironically amassing one of the year’s most stacked casts. The film takes inspiration in a self-aware manner from Whodunnits, from Agatha Christie literature to Rian Johnson’s Knives Out mysteries, and doesn’t shy away from ideas like death and grief. Rather it tackles these themes head-on while maintaining a kid-friendly PG rating but having much to say for adults.

Everyone seems like they’re having a blast here, from Hugh Jackman as George to Emma Thompson is a lawyer who’s quite the character. Nicholas Braun in particular is hilarious as a cop whose skills leave a bit to be desired, and Hong Chau and Molly Gordon are great, too. A number of A-listers also join the voice cast side and entertain as the sheep who enlist themselves in finding justice for their slain shepherd.

The pace and twists continue to work, and the humor is often laugh-out-loud and works great for older audiences too. At its heart is very strong themes about grief, remembrance, and togetherness that can stick with anybody — and best of all, you’ll fall completely in love with the sheep, even if the CGI behind them sticks out in a few weird shots.

05.23.26
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Star Wars: The Mandalorian and Grogu

In the age of the New Republic hunting down the remnants of the fallen Empire after the events of Return of the Jedi, Mandalorian Din Djarin and his adopted son Grogu embark on an exciting new Star Wars adventure.

The Mandalorian’s big-screen debut isn’t his most dramatic or revealing, but honestly, it’s refreshing that the stakes are changed up from “fate of the galaxy” level to focused more on crime syndicates and bounty hunters. The Neo-Imperial and Mandalore stories from the series aren’t revisited or touched on much, but that’s honestly a breath of fresh air to see Mando go in a new direction this time. The visuals are splendid, as always with Star Wars, and the action is expertly choreographed. Grogu is absolutely adorable and everything he does is a standout here, and Ludwig Goransson’s excellent score elevates the whole movie.

Jeremy Allen White also stands out in a motion capture role, playing Rotta the Hutt, who’s far gentler than any of the other Hutts we’ve met in Star Wars lore. Sigourney Weaver is no stranger to space action, and is yet again a delightful badass who gives much heart and authority to her character of Ward.

The Mandalorian and Grogu might not end up changing the game for the franchise, but it’s got just enough fun visuals and action, as well as the touching father-son dynamic at its center, to be worth a watch for action/sci-fi/fantasy fans and those who are invested in the galaxy far, far away.