Untitled Film Project

Director David Ayer is a veteran of the trade who knows how to plant seeds along the way in order to maximize the audience’s experience.

This film transports the audience to The Great Depression and is a riveting story with relatable characters. That’s all great but Ethan Hawke is the feather in THE WEIGHT’s cap.

Too often in this genre, the flow of action feels contrived and scripted. Director William Kaufman provides the opposite here and it’s a welcome change.

Director John H. Cunningham could’ve rested on the hits but, thankfully, OCCUPATIONAL HAZARD provides an interesting look at Jimmy Buffett far beyond the singles.

Directed by Jean-François Richet, MUTINY offers very few enhancements over the usual genre offering. Anybody could’ve directed this movie and it would’ve turned out exactly the same.

Elementary at times but clever overall, this is a must-see for all families with young children.

McConaughey should be applauded for his strong return, LookingGlass should be applauded for bursting onto the scene with an unforgettable performance and Patterson should be applauded for sticking to his vision.

A fun flight of fancy but clumsily executed, ONE NIGHT ONLY is saved by Monica Barbaro, plain and simple.

There is no denying the determination, resourcefulness, creativity and drive of these amazing young girls and COOKIE QUEENS allows us to witness that on-screen.

A faithful continuation of the Spider-Man (and Marvel) saga but, more than that, it may be the best movie in the history of Spider-Man films.

While MILE END KICKS doesn’t call for the same emotional range as BOB TREVINO LIKES IT, Ferreira proves, once again, that she’s one of her generation’s greatest actors.

We beg filmmakers and studios all the time to show us something different. MOTOR CITY absolutely shows us something different and it should be applauded for that.

The question continuously asked throughout the film is “Where’s Brandon Beckett?” Nobody cares.

Nolan Turns 3,000 Years Old Into 2026’s Biggest Movie

The grand scale, the epic stories, the deep characters, the large sweeping (real) landscapes. This is why we go to the movies.

We didn’t need this. 10 years doesn’t allow for the generation who grew up on the beloved animated version to want to take their own kids to the live-action remake.

The Invite is a comedy of manners, until it isn’t.

I’m never going to argue about another MINIONS offering. It’s like the Star Wars franchise. You put it out, I’m going to watch it. But MINIONS & MONSTERS could’ve been an hour-long TV special.

This is what happens when you give an amateur filmmaker who’s a super fan of the genre a multi-million dollar budget and say “go make a movie.”

While it has it’s drawbacks, NIGHT NURSE is an artsy psychoerotic thriller that provides enough twists and turns to deliver on its premise.

An unnecessarily complicated action film that loses momentum with every flashback.

While very few have been “elite,” we’ve had a ton of solid movies so far. These are our Top 10 of the first half of 2026…

Alcock gives it her all and is a joy to watch but the writing, CGI-heavy fight scenes and directing choices regress SUPERGIRL to the mean.

The side characters have something to say too but they’re so severely overshadowed that they become obstacles in the way of what you’re there to experience.

From social awkwardness to grief to vulnerability to abandonment to falling in love to heartbreak, da Costa nails it, regardless of the emotion the character calls for.

Emily Blunt soars in this uneven dud. Should Spielberg get a pass for failing to deliver a blockbuster, the genre he created?

What we have here is another all-timer on a resume of all-timers for Steven Spielberg.

Make plans to see it on the big screen but pack an IV drip. You’re going to need all the stamina possible to get through this one.

A ton of these ideas are perfect for sketch television, to the point where SCARY MOVIE really makes you wish IN LIVING COLOR was still on the air.

Because it has a great premise, because the acting is solid and because it’s so intense, SEVEN SNIPERS begs for a higher score.

A slightly-better-than-average action movie that features good-but-nothing-special performances and a recycled plot from a superior franchise.

Parents and grandparents of all ages can take kids at any stage of life and everyone will enjoy THE BREADWINNER to some degree.

Kane Parsons can build a room. He just can’t build a movie. Yet. Backrooms is a first person, existential dread fest for thos raised on internet.

Scott is outstanding as Stagg, somehow bringing intensity and momentum to the even keel, hardly-ever-rattled character, and Condon is a force to be reckoned with any time she’s on the screen. But then there’s Fraser.

TUNER has heart, intrigue and a sense of awareness, weaving many genres into one (in the best way). You can’t ask for much more in two hours.

Most screenlife projects end up being laughable or boring because they can’t maintain the novelty of the creative intrigue early on. Thankfully, LIFEHACK succeeds where so many fail.

If you’re a parent who’s looking to take your kids (eight and older?) to a movie that you’ll actually enjoy — as opposed to endure — THE SHEEP DETECTIVES is a tremendous choice.

MORTAL KOMBAT II is completely unnecessary, offers the audience absolutely nothing unique and could very well be the death knell for the franchise.

THRASH, basically, has every lazy convenience, stereotype and cliche an amateur would think is clever enough to write.

Writers Brian McElhaney and Nick Kocher take ultra-relatable themes such as nagging, pet peeves and lack of appreciation and turns a fun premise into an irreverent comedy that will have legs long after it leaves theaters.

This is a borderline masterclass in psychology. You feel his desperation for friendship, you feel his childhood ripped away from him, you feel his internal struggle of family vs. self and you feel his giving heart.

Like when a sports team assembles a super roster but falls short of a championship, BUSBOYS is a great example of how two hilarious comics can still fall flat despite combining powers.

Netflix has a comedy-for-comedy’s-sake movie on it’s hands that’s relatable and will be played in every college dorm room from coast to coast for years to come.

Director Kat Coiro delivers a sweet, charming and hilarious film here and, if you love the genre, YOU, ME AND TUSCANY is not to be missed.

While it was a blast to see in a theater, it’s not necessary. The important thing is that you see it at all. So, once it comes to streaming, you have no excuse.

Entertaining? Yes. Riveting? No. WAR MACHINE is that great idea on paper but average at best in execution.

Having filmed his scenes when he was 79 years old, the acting ability exhibited here makes you wish Filippenko had been discovered by American audiences decades ago.

On the surface, it seems like a creative, campy project. As you get more and more immersed, however, it becomes less and less imaginative.

If you love the JOHN WICK series, you’ll love THE FORBIDDEN CITY.

Gyllenhaal’s The Bride Is a Brain Attack You Won’t Want to Survive