Year: 2026

July 6, 2026 · Watch the official trailer

Capturing and portraying America's Founding Fathers in popular culture has often been a tricky endeavor, largely because the stories told about these national heroes are so dense that adequately encapsulating their legacy generally requires a long-form documentary or narrative miniseries.

Lin-Manuel Miranda certainly tried to consolidate the exploits of the nation's first Treasury Secretary into a two-and-a-half-hour hip-hop Broadway musical, but it's rare to find Founding Fathers on the big screen as the central focus of a feature film.

Director Jon Erwin and Angel Studios sought to change that this Independence Day weekend with an origin story of sorts for unquestionably the most revered man in the founding of the nation.

It's striking and somewhat jarring at first to realize that the entirety of "Young Washington" takes place decades before the American Revolution, and it's exceedingly strange to see a youthful George Washington so fervently defend and try to be accepted by a British Empire that views him as a second-class colonial.

Irwin's film follows Washington as he begins his military career as a major in the Virginia militia, facing French and Native American forces throughout the uncharted Ohio Territory during the conflict that would become known as the French and Indian War.

William Franklyn-Miller does an extraordinary job bringing the earnestness, humility, and reluctant servant leadership to Washington, and his ability to take relatively simple dialogue and elevate the material both in cadence and physical presence makes for a compelling protagonist that audiences can rally behind beyond simply the fact that he is portraying George Washington.

The relative newcomer is given every opportunity to be presented like an uncrowned king in much the same way that Washington himself was revered in his military and political life. Though Franklyn-Miller largely defers to a humbler earnestness that reflects the moral underpinning of the film as a whole.

Many of the film's co-stars feel as if they were cast for a different, more traditional historical epic, as it's difficult to imagine William Franklyn-Miller sharing scenes with an Oscar winner like Ben Kingsley and Emmy winners like Kelsey Grammer and Mary-Louise Parker.

Though they're occasionally jarring in their inclusion, the veteran actors on the periphery of "Young Washington" do not completely overtake the narrative. Each finds their place within the film, and Kingsley gives immense gravitas to his turn as Virginia Lieutenant Governor Robert Dinwiddie. Though it's clear that Andy Serkis's limited time on screen as General Edward Braddock has the most weight and impact on the story as a whole.

For a film from Angel Studios, a largely family-friendly, faith-based production company, the amount of traditional war violence shown in "Young Washington" is not relatively standard, though considerable decisions are made to soften the violence for younger viewers.

Brutal killings are largely performed in the background, and rarely are people shot and killed in direct view of the audience. Certainly, weapons are fired and soldiers fall to the ground, but the brutality of war doesn't have quite the same sting as it would in the hands of more mainstream studios.

The film's highly stylized orchestral score seeks to invigorate the audience with a sense of pride and passion, though at times it does come across as a bit heavy-handed.

The strongest part of "Young Washington," as a whole, is the exceptionally well-considered cinematography from director of photography Kristopher Kimlin, who instills a sense of urgency in the camera work while evoking classic American historical epics like "Lincoln" and "The Patriot."

In fact, "Young Washington" may be the most technically impressive entry into the Angel Studios filmography thus far, as the studio's continued growth has clearly come with a commensurate increase in its technical budget.

Though it might have been more prudent for a theatrical film about the life of George Washington to center around his career as both an American revolutionary and first president, once Irwin's film puts viewers through its initial paces, the strong back half of the film does offer insight into how one of America's Founding Fathers developed the morality and sense of servant leadership key to the formation of what Americans view as ideals to strive for in their elected leaders.

Although it should be widely accessible via Angel Studios' streaming service or through at-home viewing sometime in the next several months, "Young Washington" does have enough visual impact to justify a trip to the cinema.

June 29, 2026 · Watch the trailer

Part of the appeal of comic books to readers, young and old alike, is the dynamic, vibrant, out-of-this-world realities created on the page. Successful film adaptations, whether embracing a grounded, gritty aesthetic like Christopher Nolan's “The Dark Knight” or the bombastic, colorful spectacle of Joss Whedon's original “The Avengers,” thrive on bringing an energy and urgency to the screen that makes audiences feel as though a comic book has come to life.

DC, which struggled to find its footing after Nolan concluded his Batman trilogy, began trending in the right direction by bringing James Gunn aboard to oversee its creative direction. His “Superman” reboot proved to be both a critical and commercial success. The second installment in this revitalized cinematic universe, “Supergirl,” arrives with much of the same comic book lore intact, but director Craig Gillespie can't find the same impact.

“Supergirl” follows Kara, Superman's cousin, on a wild interplanetary birthday bender before she's forced into action after space pirates poison her dog, Krypto, and steal her ship. The ensuing hour-and-forty-five-minute adventure lacks any real sense of purpose, and while audiences will be lightly entertained by its superhero-meets-“Mad Max: Fury Road” premise, “Supergirl” never quite packs the same punch as its predecessor.

Unquestionably, the film's greatest strength is Milly Alcock's performance as Kara. She strikes an effective balance between seriousness and carefree confidence, successfully capturing the emotional dichotomy of a young woman searching for both her own identity and a greater sense of family and purpose.

Gillespie attempts to weave Kara's origin story throughout the larger narrative with moderate success, and it's largely Alcock's ability to blur the line between altruism and anger that makes the film's frequent time jumps work at all.

Eve Ridley delivers a solid performance as Ruthye, a young girl seeking revenge for the murder of her parents, and the older sister-younger sister dynamic she develops with Alcock becomes one of the film's more engaging relationships, even if the screenplay rarely gives either actress the material they deserve.

Jason Momoa, previously known to DC audiences as Aquaman, returns to the franchise as the antihero Lobo, roaring onto the screen atop a motorcycle. While Momoa is clearly having fun with the role, his inclusion feels less like an organic part of the narrative than an attempt to boost name recognition while sprinkling in additional comic book Easter eggs for longtime fans.

Matthias Schoenaerts portrays Krem with plenty of menace, but the character himself is little more than a generic comic book heavy. A mid-tier Superman villain with vague motivations beyond creating random chaos, Krem never emerges as either a believable threat to Kara or an emotionally compelling antagonist. The result is yet another underdeveloped element in first-time feature screenwriter Ana Nogueira's overcrowded screenplay, which continually introduces ideas without fully exploring any of them.

Visually, “Supergirl” opens with a bright, punk rock aesthetic before quickly fading into a sea of dull blacks and grays. As is the case with many modern superhero films that rely heavily on green screens, several action sequences seem designed to conceal the shortcomings of their visual effects rather than showcase Kara's powers.

Gillespie frequently buries the action in darkness or overwhelms it with motion blur, making the spectacle feel more muddled than exhilarating. Even so, several set pieces genuinely work, particularly an early sequence in which a ship is raided by tech pirates, leading to an inventive and occasionally hilarious teleportation battle that stands as the film's most creative action sequence.

It's apparent throughout that Nogueira's script never quite comes together as the cluttered mishmash of ideas, emotional side quests, and repeated origin-story detours never fully coalesce into a satisfying narrative. The film also struggles to incorporate David Corenswet's Superman, whose altruistic optimism was the emotional backbone of Gunn's far superior “Superman” from last year. While that sense of hope is clearly intended to influence Kara's own journey, Gillespie never quite sticks the landing.

Among DC's modern output, “Supergirl” settles comfortably into the middle tier. It never reaches the heights of “Superman,” Nolan's “Dark Knight” trilogy, or even Todd Phillips' original “Joker.” At the same time, it remains far more watchable than many of the later entries in the former DC Extended Universe.

Unfortunately, there simply isn't anything distinctive enough about “Supergirl” to make it essential theatrical viewing, and casual moviegoers may be better served waiting to catch it at home later this fall.

June 22, 2026 · Watch the official trailer

The gold standard in family animated films for decades has been the “Toy Story” franchise as tales of Woody, Buzz Lightyear, and their friends trying their best to make the lives of the children who own them better have become a staple of modern cinema, earning multiple Academy Awards while warming the hearts of audiences young and old. The series remains one of the pinnacle achievements of Pixar animation.

The last two entries in the franchise were both immensely well received and, at various points, seemed poised to serve as a fitting conclusion to the series as a whole. Yet the continued proliferation of technology into nearly every aspect of daily life proved fertile ground for director Andrew Stanton and writers Stanton and McKenna Harris to revisit the world of “Toy Story” one more time.

Now under the care of a young girl named Bonnie, the classic characters audiences have come to know and love find themselves tasked with helping her make friends in an increasingly online world, where imaginative play is viewed as a stranger, lesser, and more isolated endeavor.

Franchise favorites Woody and Buzz are somewhat sidelined in favor of Jessie, who serves as the film's primary protagonist, though both Tom Hanks and Tim Allen return to their iconic roles.

Joan Cusack does an exceptional job taking the reins as the film's primary protagonist, Jessie, blending a slight Southern twang with layered warmth and humanity in her performance. Though Cusack is simply in a recording booth reading lines, her work feels almost completely synchronized with the animation to the point that it is more reminiscent of motion-capture performances that bring CGI characters to life.

Both Allen and Hanks settle comfortably into supporting roles, allowing Cusack to carry the bulk of the narrative and emotional through-lines in "Toy Story 5."

The almost generational passing of the torch feels cohesive between the characters despite a slightly staggered screenplay that takes broad brushstrokes to separate many of its primary players into different storylines. As always, the “Toy Story” films are littered with a terrific ensemble cast, most of whom return, and the inclusion of “Past Lives” star Greta Lee as the voice of Lilypad, an iPad-like device that becomes Bonnie's whole world, helps provide genuine dramatic tension in a relatively standard PG family film.

Pixar has always done an exceptional job bringing the world of "Toy Story" to life through vibrant animation, and the fifth installment is no exception. There is an ingenuity to the way the color palettes and visual design differ from prior installments, as Bonnie is a far more unique and playful child than Andy was in the original films.

This is especially effective during several striking animated sequences where the traditional visuals give way to backgrounds that look as though they have been drawn directly with Bonnie's crayons, reinforcing the imagination and creativity that Jessie and the other toys cherish but Bonnie's peers increasingly view as childish and outdated.

The film is further bolstered by yet another terrific score from Randy Newman, while Taylor Swift's original song, "I Knew It, I Knew You," is certain to become a major commercial success and a serious awards contender later this year. Without question, "Toy Story 5" appears destined for a Best Animated Feature nomination and enters awards season as one of the category's early frontrunners.

Much like "Toy Story 4," this is a film for audiences who grew up on the original "Toy Story" trilogy and are now looking to share similar experiences with their own children at the movie theater. Clearly, it is a Disney-Pixar film intended to keep younger audiences engaged and entertained both visually and narratively, but there is enough nostalgia and adult humor woven into the fabric of the story to make "Toy Story 5" a universal crowd-pleaser.

The film's existential commentary on the proliferation of technology and its potential impact on children's social development and imagination is effectively conveyed, though at times it can feel somewhat like a gimmick designed to justify the existence of yet another entry in the franchise.

Although it lacks the emotional weight of "Toy Story 4," it proves there are still worthwhile stories to tell within this world. While there may not be anything so groundbreaking that cinephiles need to rush out and experience immediately, "Toy Story 5" remains an ideal family trip to the cinema and one of the year's safest recommendations for parents looking to entertain younger children. Single adults and more casual viewers may find themselves perfectly content waiting for its inevitable arrival on Disney+ later this year.

June 15, 2026 · Watch the official trailer

Often, a filmmaker in the twilight of their career will make a movie that serves as a thoughtful treatise on their own legacy, reflecting on what they have learned over decades in cinema.

Steven Spielberg did this four years ago with his introspective, semi-autobiographical film, "The Fabelmans," and continues that discussion of greater purpose with his science-fiction thriller "Disclosure Day," a film whose story he reportedly wrote himself in the Notes app on his iPad. Yet "Disclosure Day" also harkens back to Spielberg's classic science-fiction filmography, searching for deeper meaning through spectacle and wonder.

The film follows Daniel, a computer programmer on the run from a shadowy corporation seeking to release proprietary secrets to the world, and Margaret, a television weatherperson whose life is suddenly changed after a chance encounter.

"Disclosure Day" takes elements from "Close Encounters of the Third Kind" and "War of the Worlds," but filters them through the framework of a classic chase movie.

"Disclosure Day" propels itself forward through constant movement as Daniel escapes one predicament only to find himself in another a few scenes later. There is a palpable energy to the film that has not been characteristic of a Spielberg production since perhaps the early 2000s. While it lingers a bit too long in its third act, "Disclosure Day" may be one of Spielberg's most immersive cinematic experiences.

Josh O'Connor brings a simple earnestness to Daniel, and the way he is able to ground the character through much of "Disclosure Day" is highly reminiscent of something Tom Hanks might have done decades earlier with a similar role. Audiences are easily able to place themselves in Daniel's shoes and root for him because of O'Connor's affability and earnest naïveté as he finds himself thrust into increasingly bizarre circumstances.

About halfway through "Disclosure Day," the film pivots almost entirely to Emily Blunt's Margaret, a woman who initially appears to have every aspect of her life under control before becoming increasingly manic as events begin to unfold around her. Blunt's ability to layer seemingly normal behavior with a growing sense of frantic self-assuredness helps viewers maintain a suspension of disbelief when Spielberg and his team begin leaning harder into the film's science-fiction elements.

Colin Firth is exceptional as the film's primary antagonist, providing both gravitas and an underlying menace that helps balance the stakes in a screenplay that never presents audiences with a truly traditional villain. Colman Domingo is perfectly cast as an almost Wizard of Oz-like man behind the curtain who helps keep Daniel and Margaret on track, while Wyatt Russell and Eve Hewson provide solid supporting work rounding out the primary ensemble.

The real star of "Disclosure Day," however, is Spielberg himself. Both as a storyteller and filmmaker, he finds nuance and intrigue within a science-fiction narrative that almost completes the thematic circle he began nearly fifty years ago with "Close Encounters of the Third Kind."

There’s an intensity and imminent sense of suspense throughout many of the film's strongest sequences, particularly in the first and second acts before its major revelations arrive. Spielberg's unique ability to generate tension through visual storytelling remains remarkably intact.

Although there are relatively few action sequences in "Disclosure Day," an extended car chase that carries Daniel from a secret location onto active train tracks is perhaps the most engaging action set piece Spielberg has crafted in more than a decade. The sequence is paired with another rock-solid score from John Williams, whose atmospheric compositions heighten the volatility and uncertainty running throughout the narrative.

"Disclosure Day" feels like a film made in 2026 with the cinematic sensibilities of the 1980s and 1990s. Spielberg also provides audiences with a wealth of philosophical questions that linger long after the credits roll, intentionally leaving many of the film's biggest ideas unresolved in order to encourage discussion. While that approach may prove divisive for some viewers, "Disclosure Day" never attempts to preach a singular answer to the existential questions it raises.

Naturally, because it is a Spielberg film, "Disclosure Day" will receive awards season consideration in certain circles, though its strongest case may ultimately be yet another outstanding score from Williams.

While audiences do not necessarily need to rush to theaters to avoid spoilers or experience the film on the largest screen possible, "Disclosure Day" is a summer blockbuster well worth the price of admission and one that viewers are likely to be discussing long after they leave the cinema.

June 8, 2026 · Watch the trailer

Camp only works in comedy if everyone is in on the joke. The overly broad, absurd, and often outlandish style of humor has a strange yet irreverent place in cinema, and while films like “The Rocky Horror Picture Show,” “Barbie,” and “Thor: Ragnarok” can elevate this sense of ridiculousness to new heights, a filmmaker who doesn't realize they're making a camp movie can often miss the mark wildly.

“Masters of the Universe,” the new film from director Travis Knight, takes the classic television character He-Man and his friends and reimagines them for the modern era. While closely inspired by Marvel's “Guardians of the Galaxy” films, “Masters of the Universe” doesn't quite rise to that same level of spoof humor, as its screenplay fails to balance genuine fan service with a clear understanding of just how bizarre a space world filled with talking tigers and men in loincloths truly is.

The film serves as an origin story of sorts for a potential expanded universe, with Adam, the Prince of Eternia, being sent to Earth following the apparent death of his parents in a clear lift from “Superman” canon before returning years later to save his home from Skeletor and his band of evil minions.

Nicholas Galitzine does a decent job balancing the warmth and humanity of Adam with the larger-than-life version of He-Man, although the screenplay, written by Chris Butler, Aaron Nee, Adam Nee and David Callaham, makes the baffling decision to weave Adam's naivete through the world of human resources.

Many of the film's frequent HR-related jokes simply don't land, despite Galitzine's commitment to the bit. His performance does give audiences an easy protagonist to root for, though it isn't particularly memorable once viewers leave the theater.

Camila Mendes is fine as Adam's best friend and love interest, Teela, though the clear parallels between their characters and the relationship between “Guardians” heroes Star-Lord and Gamora feel equally confusing and out of place within the larger context of the film.

Idris Elba plays slightly against type as a former royal guardsman whose failures have led him into depression and alcoholism, providing far more interesting comedic and dramatic moments than either of the film's two leads.

Ironically, Jared Leto, known for his over-the-top work in many recent flops, understands the film he's in far better than anyone else, and audiences never even see his face. As the CGI-rendered Skeletor, the level of broad camp that Leto embraces as the iconic villain provides many of the film's best comedic moments.

“Masters of the Universe” is a comedy where only about 30 percent of the jokes actually land and a space-action epic that offers only one or two truly engaging action sequences.

The film largely feels like an extension of the animated series, simply translated into live-action form, which feels appropriate given that its director comes from the world of animation, having previously helmed the vastly superior animated film “Kubo and the Two Strings.” While there is a sense of similarity between “Masters of the Universe” and its television roots, the film never takes itself too seriously, allowing it to become intermittently entertaining despite its many flaws.

If “Masters of the Universe” were a bit more in on the joke and punched up by smarter comedy writers, it could have been the surprise hit of the first half of 2026. As it stands, it turns out to be just another inevitable IP project for studio executives hoping audiences latch onto nostalgia.

Certainly not the year's best blockbuster, there is little reason for audiences to rush out theatrically to catch “Masters of the Universe” on the big screen. However, its inevitable release on Amazon Prime later this year should make for perfectly enjoyable, turn-your-brain-off streaming fodder this fall.

June 1, 2026 · Watch the official trailer

Comedian Nate Bargatze has been on a quest to make an affordable, family-friendly trip to the theater happen nationwide this summer.

His big-screen debut, "The Breadwinner," released in theaters this past weekend, and Bargatze has spent weeks negotiating with theater chains to offer audiences the so-called "Nate Rate" for tickets, making what can often be an exorbitant family outing a bit more cost-effective. It is a noble proposition, and one that large families may be well-positioned to take advantage of, though the film they are seeing does not necessarily hold quite the candle to its clear inspiration, the 1983 Michael Keaton comedy "Mr. Mom."

Co-written by Bargatze, "The Breadwinner" follows the Nashville comedian-turned-actor as a successful Toyota salesman who is forced to become a stay-at-home dad when his wife becomes a budding entrepreneur after an appearance on "Shark Tank."

The fish-out-of-water hijinks that ensue as Nate manages family life with three daughters take large inspiration from his own stand-up routines, as audiences can see during the film's closing credits.

It is clear throughout how at ease Bargatze is in the role, as much of the dialogue is written in the cadence of his stand-up material. It accentuates the everyday family-man persona he is clearly aiming for both within the narrative and as a performer.

It is easy to find Bargatze relatable and humorous in the sort of way that makes audiences put a hand to their face in slightly embarrassed laughter, and it is obvious throughout that what viewers get in "The Breadwinner" is exactly what Bargatze intended when penning the screenplay.

"This Is Us" star Mandy Moore appears in and out of the narrative as Nate's wife, Katie, and while her character has far more heart than the away-from-home parent is often afforded in similar family comedies, audiences simply do not get enough time with Moore to become invested in her absence. The film largely assumes that not having her character around is a bad thing rather than showing it, outside of Nate's struggles to live up to the expectations his daughters have for their parents.

"Saturday Night Live" star Colin Jost and comedian Kumail Nanjiani provide solid supporting turns as a fellow stay-at-home dad and Nate's rival Toyota salesman, respectively. While both seem at home within the film's lighthearted humor, "The Breadwinner" plays things far too safely with either character, and both performances lean just a touch too far toward caricature.

"The Breadwinner" goes beyond being heavily inspired by much better-written family comedies of the 1980s. At times, it becomes a series of direct lifts from the premises of "Mr. Mom" and the Tom Hanks screwball comedy "The Money Pit" in an effort to flesh out its dated central concept. While there are moments where the idea of a home being gradually destroyed by circumstance while mom is away generates moderate humor, much of "The Breadwinner" is a flat and uninspiring experience.

The comedy is often remarkably safe, even by PG standards, and feels more in keeping with something parents might have tossed into a VCR to placate young children in the 1990s than a family comedy designed for modern audiences.

Additionally, "The Breadwinner" frequently leans too heavily into product placement. The use of the "Shark Tank" franchise as the catalyst for the film's premise feels unnecessary, while Toyota branding is placed far more front and center than would typically be expected in a traditional studio comedy.

For very casual audiences seeking lightweight escapism for younger children and large families, "The Breadwinner" may hold moderate appeal, particularly for children who insist on a trip to the movies rather than settling for something at home. However, try as he might, Bargatze has not made a film memorable enough to move the needle beyond the goodwill generated by his desire to provide a more affordable option for families at the theater this summer.

May 22, 2026 · Watch the trailer

Franchises and universes have been around for a while in pop culture, though integrating television and film together has long been a haphazard, imbalanced roller coaster of hits and misfires.

George Lucas created a world far beyond the galaxies in his mind when he developed “Star Wars,” and yet with prequels and sequels, offshoots, novelizations, and television shows, the battle between good and evil, Jedi and Empire, has raged for decades on both the big and small screen.

The highly popular Disney+ television show “The Mandalorian” finally receives its big screen debut with writer-director Jon Favreau’s “Star Wars: The Mandalorian and Grogu,” a space western following its titular characters as they hunt for the last remnants of a now fallen Empire.

What audiences get over the course of more than two hours feels less like a cohesive movie meant for the big screen and more like two supersized episodes of “The Mandalorian” stitched together and packaged to maintain moviegoer interest in “Star Wars” films while continuing to drive Disney’s corporate profits.

The film is relatively linear as the title characters are tasked with hunting down an elusive and mysterious Imperial leader hiding in plain sight on the outskirts of space, while also tangling with relatives of the infamous Jabba the Hutt.

Casual moviegoers do not have to be canonically aware of everything that has happened in “Star Wars” lore to follow and be entertained by the overall narrative, though the film certainly takes certain liberties in assuming audiences are more aware of places and characters than someone who has only seen the original trilogy might be.

Despite its blockbuster scale, “The Mandalorian and Grogu” features only fourteen credited cast members in total, with much of the film relying on masked performances, CGI creations, and voice acting rather than tangible on-screen chemistry.

There is not much of an ensemble cast to speak of, as most characters are either hidden behind helmets or voiced through CGI creations, and “The Mandalorian and Grogu” often carries the feel of an animated film despite technically being live action.

Pedro Pascal, as the Mandalorian, delivers a Clint Eastwood-like man with no name cadence that reflects his loner anti-hero character, though it does not provide audiences with a particularly engaging protagonist, as viewers are clearly meant to derive most of the film’s warmth from Grogu. The character, from the same species as the iconic Yoda, provides much of the film’s limited humor and lighthearted energy.

Pascal performs well opposite green screen environments and CGI creations, but hiding behind a helmet prevents meaningful emotion or character development from emerging.

The same can be said of Emmy winner Jeremy Allen White, who provides the voice work for Rotta the Hutt, son of Jabba, in a key supporting role. Yet the part is written so one-note and bland that it could have easily been replicated through AI voice generation to nearly the same effect.

There are very few live action performers throughout the film, with Sigourney Weaver and Jonny Coyne, as Lord Janu, both delivering solid supporting efforts in a project that does not require much from them. In fact, famed auteur Martin Scorsese, known for criticizing blockbuster franchises as theme park entertainment rather than cinema, ironically voices a character in the film, creating a strange double standard considering his longstanding criticism of modern franchise filmmaking.

Visually, there are very few standout moments that justify a trip to IMAX screens, though it’s clear that Favreau and cinematographer David Klein are heavily influenced not only by the larger “Star Wars” universe, but by blockbuster filmmaking as a whole.

There is a clear visual lift from the original “Top Gun,” with spaceships flying low beneath glowing sunsets, while a large Coliseum sequence evokes less of traditional Roman gladiator epics and more of the pivotal arena battle sequences from Marvel’s “Thor: Ragnarok.”

The lone standout element of “The Mandalorian and Grogu” is the immersive score from Oscar-winning composer Ludwig Göransson, though at times the emotional grandeur of the music clashes with the comparatively hollow spectacle unfolding onscreen.

“The Mandalorian and Grogu” is canonically the twelfth feature film in the “Star Wars” universe, and the third released outside of the three primary trilogies. While it is not among the worst made nor worst acted entries in the franchise, there is little about the film that remains memorable after leaving the theater, and it represents a significant downturn from the vastly superior “Rogue One: A Star Wars Story,” or even the origin tale “Solo: A Star Wars Story.” Ardent fans of “The Mandalorian” television series, or “Star Wars” as a whole, will likely find the film inoffensive and lightly entertaining.

More casual audiences, however, particularly those unconcerned with avoiding spoilers, have little reason to rush to theaters prior to the film’s inevitable arrival on Disney+.

May 18, 2026 · Watch the official trailer

Sometimes films seem like two different movies smashed together into one narrative structure. It’s almost as if filmmakers start with one idea, scrap it entirely midway through production and then have to come up with a way to make the rest work.

That tonal bifurcation makes writer-director Guy Ritchie’s latest action heist thriller "In the Grey" a tonal mismatch that studios seemingly had little confidence in bringing to the silver screen. Ultimately landing with Black Bear Pictures after a rocky release path, "In the Grey" arrived in theaters this past weekend with little marketing or fanfare despite a talented ensemble cast led by Henry Cavill, Jake Gyllenhaal and Eiza González.

The film follows a small team of fixers tasked with recovering a billion dollars lent by a shady corporation to an international drug lord.

The first half of "In the Grey" plays like a more staccato, dialogue-driven cerebral thriller in the ilk of "Michael Clayton" or "The Counselor," with just a hint of traditional heist movie stylings. This only works, however, for the first half of the film, which feels like a singular episode awkwardly matched with a second episode of the same television show that leans far more heavily into military combat in the vein of "John Wick" or a more traditional modern war film.

The performances throughout are solid in spite of a relatively thin screenplay. Cavill and Gyllenhaal have immediate rapport and strong chemistry as two ex-military special forces operatives who are adept at sneaking in and out of tight situations fluidly. Both actors are able to shift in and out of stoicism with a light charm that works well, as if their characters are opposite sides of the same coin.

González is particularly strong in the film’s first half, which centers more on her character’s mental acuity and craftiness as a lawyer. It’s clear Ritchie writes her as someone who uses words like weapons and believes the mind is mightier than the sword, even while navigating violent criminals.

The supporting performances are good, yet not exceptional. Rosamund Pike brings her usual deceptive edge as a corporate executive who hires the team to recover the money, while Carlos Bardem plays a smarmy drug lord who believes he can get away with anything.

Visually, "In the Grey" is smoothly shot and highly stylized to emphasize the crisp cinematic lines of its costuming and uniquely bespoke sets. Combined with the film’s brisk editing style, it gives "In the Grey" an effective heist-thriller pace.

What doesn’t fully work is how the score — or sometimes complete lack thereof — doesn’t always match the tone of the surrounding film and often leaves "In the Grey" feeling exceptionally cold and standoffish. It doesn’t particularly help that Ritchie never writes enough meaningful character development to fully invest audiences in his protagonists, and this makes for a less memorable film as a whole.

When "In the Grey" fully gives itself over to its intense and lengthy action sequences, there is a dynamic energy to the film that feels engaging and intense. Ritchie’s ability to propel action forward through a variety of interlinked set pieces is both clever and nuanced, especially as those moments call back to details established in the film’s first half that audiences may not immediately recognize.

Each half of "In the Grey" feels worthwhile independently, yet the project as a whole feels far less cohesive and often abrupt in how it transitions between genres. Audiences may struggle to connect with the film — or even find it outright inaccessible — despite its star-studded and familiar cast.

It may be a bit too early in the year for "In the Grey" to function as effective counterprogramming against larger summer blockbusters. The film’s true audience may not discover it until it inevitably lands on streaming later this year.

May 11, 2026 · Watch the trailer

Sometimes a film is just so perfectly wholesome and adorable that it supersedes being a quaint family movie. Usually, it’s an animated film from Disney or Pixar that touches both the young and old equally, or it’s the warmth of a character like “Paddington Bear” that brings unbridled joy to audiences of all ages.

Seemingly out of nowhere, there’s another film that clearly fits into this all-inclusive wholesome family subgenre with “The Sheep Detectives” arriving in theaters this past weekend.

Though there are far more heavily marketed films currently playing – including major studio sequel “Mortal Kombat 2” and a Billie Eilish concert documentary co-directed by James Cameron – “The Sheep Detectives” is, without a doubt, the best new release of the past week.

Its simplicity is warmly charming rather than trite.

Based on “Three Bags Full” by Leonie Swann and directed by animation specialist Kyle Balda of “Minions” fame, “The Sheep Detectives” follows a flock of sheep whose devoted shepherd is murdered overnight in a small countryside town, prompting them to take it upon themselves to bring his killer to justice.

Though it often comes across as what if “Knives Out” but with animals, there’s enough whimsy in the fish-out-of-water aesthetic and the concept of sheep sneaking around to solve crimes that feels refreshingly sincere in modern cinema.

The plot is relatively straightforward and leans heavily into the idea that murders are easily solved by following a simple set of rules that Lily and the other sheep have learned from listening to George read murder mystery novels to them every evening before bed.

There isn’t a particularly complex mystery nor a brutal death at the heart of “The Sheep Detectives,” and although the film occasionally borders the line between a PG and PG-13 rating, it is never overly terrifying for late elementary and middle school-aged children.

There is a combination of live-action performers and a significant ensemble voice cast in “The Sheep Detectives,” with Hugh Jackman leading the fray as George, the lovable victim at the center of the story. He plays a simple shepherd with a big heart who cares more for his sheep than the humans in the small country town around him. Jackman is well adept at conversing with George’s animals, even though he is clearly not getting a response in return, and there is a genuine warmth to his performance that allows viewers to feel sympathy for computer-generated sheep they otherwise might not.

A terrific voice cast was assembled to portray each of the dozens of sheep in George’s flock, with Jackman and the rest of the live-action cast often acting opposite tennis balls and stuffed puppet sheep that served as stand-ins for the computer-generated animals audiences eventually see on screen.

Julia Louis-Dreyfus carries much of the film as Lily, an Agatha Christie-esque sleuth thought to be the smartest member of her flock. The soft, rounded cadence of her line delivery evokes a deep sense of empathy for Lily, particularly as her simple sheep life is shattered by George’s death.

Bryan Cranston, Patrick Stewart, Chris O’Dowd and Regina Hall all voice unique and distinctive sheep that audiences can easily identify, not just because of the performances, but because of the visual diversity of the flock itself. That distinction becomes increasingly important when the film throws dozens of characters into the foreground at once.

At any given point, there are often four or five sheep in nearly every scene, along with just as many humans having simultaneous nearby conversations. “The Sheep Detectives” could easily become difficult to follow as it ping-pongs between human and sheep interactions, but the film remains surprisingly grounded and easy to follow because of its direction.

There is also strong work from the live-action ensemble outside of Jackman, with Nicholas Braun melting into the role of the town’s lone, bumbling police officer and Molly Gordon playing George’s daughter, who becomes one of the film’s primary suspects.

Visually, “The Sheep Detectives” successfully blends computer-generated imagery with live-action filmmaking in a way reminiscent of “Paddington.” However, the busy vibrancy of that film’s production design is replaced here by far more simplistic rural settings that allow “The Sheep Detectives” to breathe a little easier.

“The Sheep Detectives” has come from almost nowhere to become one of the surprise hits of the first half of 2026 and may ultimately stand as the year’s most universally beloved family film.

Its universal appeal, heartwarming characters and unique take on the murder mystery genre make “The Sheep Detectives” worth seeking out in theaters with loved ones.

May 4, 2026 · Watch the official trailer

There’s a difference between a quality film and a watchable film that Hollywood seems to care less and less about distinguishing.

As time goes on with the emergence of instant gratification, streaming services and the ability for audiences to clickbait their way through pop culture, drawing the eyes of viewers by revitalizing popular films from previous eras has become a cliché way to generate instant buzz in spite of low market viability.

Such is the case with the wildly unnecessary yet competently made “The Devil Wears Prada 2,” which brings back director David Frankel, screenwriter Aline Brosh McKenna and stars Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci for an overly pessimistic, melancholic view of fashion and the commodification of journalism — particularly in its print form — that feels only loosely tied to its smash-hit 2006 original in theme and character alone.

“The Devil Wears Prada 2” finds Andy Sachs decades after her internship at Runway magazine, returning as features editor for a now declawed version of Miranda Priestly as the publication deals with a changing of the guard in print media and the idea that time has passed it by.

Like many sequels, the film attempts to justify its existence by expanding its scope, pushing Andy, Miranda, Emily and Nigel across the East Coast and ultimately to Milan as a means of showcasing a wide array of costumes and designer pieces.

“The Devil Wears Prada 2” is an exceptionally flashy film, sharply shot and filled with high production value that gives the movie a genuine lived-in authenticity. Numerous fashion designers and models appear throughout the film attending major events, while Christian Dior plays a major role in the narrative as well.

The strength of “The Devil Wears Prada 2” is clearly its star-studded cast.

Despite no longer being a fish out of water, Hathaway gives Andy the same bubbly naivete she brought to the role nearly two decades ago, and the simple earnestness Andy has for being a good person in an industry that can be so cutthroat was more refreshing in the original but still works here.

She once again serves as a natural foil to Streep as Miranda Priestly, one of the actor’s most iconic roles, and the cold distance between the two as they work together to keep Runway afloat translates well onscreen.

Though the film literally features scenes where Miranda is scolded for saying politically incorrect things in meetings, that narrative decision often makes the character feel less interesting. While the screenplay attempts to modernize her in a changing corporate climate, it strips away some of the sharp unpredictability that made Miranda such a compelling force in the original.

On the other hand, Blunt is far less central to the sequel, and her return as Emily feels shoehorned in simply to reunite key players rather than serve a legitimate narrative purpose.While Blunt is still well suited for the catty antagonism that made Emily memorable in the original film, the yin-yang dynamic between her and Hathaway is largely shelved here, making her inclusion feel even more hollow.

By far the shining star of this 2026 iteration is Tucci as Nigel.

Even in limited screen time, Tucci perfectly balances the fatherly tone he feels toward Andy with the subdued subservience he shows Miranda while still feeling like a competent second-in-command at a major fashion magazine.

As is true with most Tucci performances, audiences can quickly feel the emotional depth in his cadence and gravitas while also clearly seeing his mind at work as he lingers in the background of scenes.

Frankel’s direction is adequate for the middle-of-the-road story he’s trying to tell. It’s visually impactful and focused on creating iconography through fashion and world aesthetic, making everything in and around Runway magazine feel larger than life.

The traditional makeover sequence where a relatively plain Andy is transformed into a high-couture version of herself is further extended into a sudden apartment change that introduces a tertiary romance subplot that feels easily written in and out of the narrative as an afterthought.

“The Devil Wears Prada 2” feels incredibly important in the fleeting moments audiences are watching it and largely forgettable the moment they leave the theater.

Without its star-studded cast and brand recognition, it’s likely this film would slip in and out of theaters with very little fanfare.

There’s nothing particularly urgent about a film that can’t decide whether it wants to be about the world of high fashion or the existential crisis of print journalism in a modern era, and audiences likely don’t need to rush to theaters to see it.

It’s probably best served as home viewing several months later while scrolling for something to watch.