It’s July and that means it’s time to quickly rundown the titles that made the biggest impact in 2026. This short list of 23 films represents the titles that made the biggest impression on me between January and June 2026 that have released in theaters, on VOD, and on streamers so far this year. If you’d like to see how this list might shift and change through the rest of the year, be sure to follow this official Letterboxd list for 2026.
Listed film order is from #1 (top of the list) to #23 (bottom of the list).
If you don’t see a film here that you’d expect to, either I haven’t seen it yet or it just didn’t work for me the way it did for you.
Good Luck, Have Fun, Don’t Die
Where To Watch: Available on physical and digital formats.
Official Summary:
A man claiming to be from the future takes the patrons of an iconic Los Angeles diner hostage in search of unlikely recruits in a quest to save the world.
Good Luck, Have Fun, Don’t Die isn’t going to be for everyone and it doesn’t try to be. You’re welcome to enjoy it as an absurdist trifle or a philosophical jaunt from which to spend hours excavating intention. For this reviewer, possibly because I earned a minor in Philosophy from UNC at Asheville (Go, Bulldogs), I’m going to do both. One can easily marvel at Rockwell’s charismatic performance which feels like a mix of prior characters Mr. Right (Mr. Right), Billy Bickle (Seven Psychopaths), and Mr. Wolf (The Bad Guys), while also feeling the weight of despair and hope that Juno Temple (Ted Lasso; Killer Joe) brings as reluctant hero Susan. Here again, there’s plenty that this review didn’t cover in an effort to keep all the fun and surprises unique to your experience. But one thing is certain, as incredulous a tale as it seems, in the wake of recent digital creations and the all-or-nothing move by tech investors and U.S. government officials to push for artificial intelligence incorporation into everything, a future comprised of unthinking, all-consuming meat sacks is not too far off a reality.
Edie Arnold Is a Loser
Where To Watch: Festival Circuit.
Official Summary:
Timid Catholic school dork Edie Arnold is dragged to a punk show where a mishap lands her on stage behind the drums. She’s mortified… but a natural. Convinced by her best friend, she secretly forms a band called The NunDead. Her newfound confidence leads to a date with the altar boy but also a fight that gets her suspended. Thinking she bailed on their first gig, her bandmates bust her out of the house just in time to win a Battle of the Bands. But when she faces expulsion and her mother’s wrath at a disciplinary hearing, footage of her kick-ass performance has an unexpected effect on her mom.
The world so often finds comfort in conformity, cradled by the notion that if I’m like everyone else, then I’m safe, I’m secure, and I have what I need. But those same folks often don’t think about what they give up by refusing to be their authentic selves. While there are some low-hanging fruit moments in which faith gets a few dong-taps to the hypocrisy within its culture as it relates to faithful men versus harlot daughters, there’s so much more within Edie Arnold is a Loser that feels less like a rebellion and more like a reclamation of self, that one can be faithful and godly *and* independent and strong. That’s the kind of piety when need more of in this world. That’s the kind of message that should be far more pervasive. Life, laugh, love — and drop a sick, fat beat.
Sell Your House
Where To Watch: Festival Circuit.
Official Summary:
A first-time director convinces his best friend to sell his house to fund their debut feature film. Everything goes really, really well. A documentary about the making of The Last Stop in Yuma County.
Making a movie is a massive undertaking regardless of which version of the studio system is in place, but, truthfully, it’s even more difficult now. If it’s becoming notoriously difficult for established filmmakers like Martin Scorsese (Killers of the Flower Moon) to get financing, image what it must be like for smaller or new filmmaking to get a film off the ground. What filmmakers of all stripes have in common is a passion to have their stories told and, typically, the ones around them provide support. Sometimes that support is emotional, sometimes material, and, yes, sometimes financial. What makes the making of Yuma County so remarkable isn’t just that Claeys invested in his friend’s project (again, this has happened before with other filmmakers), it’s the manner in which he did it and the symbolism of the act: Claeys sold his house. As a symbol, it goes beyond the metaphor of giving someone a shirt off your back to give them coverage or safety, Claeys upended his entire existence because he both believed so deeply in his friend and did so out of a personal desire to be part of cinema history. Galluppi made sacrifices as well, there is no doubt, as no one who makes a feature does so without giving up something. In the end, however, both men are now part of cinema history, their film, a tense thriller with an incredible cast, will live on past their days. Whether their story of individual sacrifice and the unknowable costs gain similar traction is uncertain, but those who come next, who dream of seeing their names on a marquee one day should see Sell Your House as a harbinger of how the film industry is now and heed it closely: be creative, work with your friends, and know what matters in the end.
And Her Body Was Never Found
Where To Watch: Festival Circuit.
Official Summary:
Mor Cohen and Polaris Banks did the impossible, made a movie with just two people, while camping, with a script based on their real arguments. Most couples would kill each other under those conditions. They were no exception.
There’re two things that’re absolutely certain, two proper kernels of truth in this high-wire act that Banks and Cohen present to us: they have incredible chemistry and, as a feature-film directorial debut, this has the goods. It’s smart, it’s uncomfortable, and it’s precise. The cringe that emanates from the characters is honest, their friction palatable, and the terror that’s created using simple blocking is magnificent. The way it riffs on filmmaking as a group process that can bring out the best and worst in people being nearly the same as the traits that make that one couple the absolute worst to be around. Polaris and Mor are vipers whose venom longs to course through your veins, yet deflect and cry victim the moment that some else dare bare their own. And Her Body Was Never Found is gawddamn delicious in its toxicity and, frankly, we’re all better off if these two stay together for the sake of all the healthy couples. With luck, the elements inspired by actual conversations between Banks and Cohen stay friendly so we can see what this couple crafts next.
L-R: Mor Cohen and Polaris Banks in AND HER BODY WAS NEVER FOUND. Photo courtesy of Cave of Time Pictures,
Campeón Gabacho
Where To Watch: Festival Circuit.
Official Summary:
Campeón Gabacho tells the story of Liborio, an endearing and mischievous young migrant whose only talent is taking punches. He crosses the Rio Grande to escape a harsh reality in Mexico, looking for a better life in the United States, and settles in a Latino barrio in New York City. Through his fists, his love, and his words, he faces cultural walls and prejudices that threaten his hopes, and becomes a hero in an unknown land.
Campeón Gabacho is magic. Full stop. Before even getting into the script, co-written by Cuarón and Xilonen, and its incredible optimism in the face of countless acts of barbarism (overt and micro), the execution is positivity sublime due to the utilization of a mix of in-camera tricks with fastidious editing by Adam Gough (Roma; Da 5 Bloods), Bruno Lasevicius (Apocalypse in the Tropics), and Cuarón to create moments that defy logic and hit one directly in the heart. Sometimes it’s a simple moment wherein Liborio stops to stare directly at us, down the barrel of the camera, as he explains what he’s feeling or remembering while everything around him either slows or stops entirely. This choice serves to convey how Liborio is the arbiter of his story, even as he laments the bad luck that seems to follow him from where he left in Mexico to a New York City Latino barrio. Other times, it’s more drastic, such as when Liborio remembers crossing the Rio Grande and he finds himself falling backward into memory, but instead of slamming hard onto the floor he’s cleaning, the water of the river slams into his back. These choices make average moments metaphorical and allow imagination (of the good moments) to grow in power and dissociation (of the bad moments) to become infused with greater weight and meaning. Just as the film opens with a masked artist finishing marking a wall with the title of the film before being chased by law enforcement, the interweaving of truth with fantasy doesn’t disturb the impact of the story, it turns it mythical and grand while maintaining its pure heart.
L-R: , Juan Daniel García Treviño as Liborio and Leslie Grace as Aireen in CAMPEÓN GABACHO. Photo Credit: Pepe Ávila del Pino. Photo courtesy of SXSW.
Mike & Nick & Nick & Alice
Where To Watch: Streaming on Hulu and Disney+.
Official Summary:
Mike & Nick & Nick & Alice is a hilarious, stylized, R-rated action-comedy about two gangsters and the woman they love trying to survive the most dangerous night of their lives. As if that wasn’t enough, there’s one wild ingredient added to the mix: a time machine.
Why It’s On the List:
MNNA is, first and foremost, a film about relationships and you can’t convince me otherwise. It’s not just the way the title reminds of Bob & Carol & Ted & Alice (1969), but the fact that, like that tile, each pair is a couple. There’s Quick Draw Mike and Nick who have a working relationship and Nick and Alice (Baby Driver’s Eiza González) who are married, which sets the immediate stage for things but is not the reason why the film, on the whole, is about relationships. It’s because this film, as we see it, occurs because Future Nick is in mourning and full of regret. Why? Because he’s responsible for Mike’s death at the hands of The Barron by telling Sosa that Mike was the rat that put Jimmy Boy in prison. Why would he do that? Because Nick found out that Mike and Alice were having an affair. On the face of it, could one understand why a cuckold might turn on a friend? Absolutely. Except Nick had a history of cheating *and* had told Mike that he was done with Alice, he just hadn’t divorced her yet. So when Mike is killed, he’s initially filled with remorse which turns further sour upon learning that Alice is pregnant. Like a lover determined to turn back the hands of time to return his lost love, Nick sets a plan in motion in which traveling back in time will allow him to control the outcome so that Mike and Alice can have their happy ending. With so many stories of time manipulation being used by protagonists to re-invent themselves into the best version of who they can be (Palm Springs; Groundhog Day), to get home (Rewrite), or to find out who killed them (Happy Death Day), utilizing time travel to resurrect someone speaks to the passion with which Future Nick feels for his friend and the depth of regret for his violent choices. It’s one of the more brilliant moments when, after establishing for the main four characters who Future Nick is, that Mike walks Nick through Nick’s statements of martial abdication and see Nick fully-realize just how clearly he had proclaimed his disinterest in remaining with Alice. It’s a scene played for laughs between two actors (Marsden and Vaughn) who are gifted at playing both the straight man and joker, while also demonstrating the profundity of Mike’s respect for Nick and not wanting to cross him. It just so happens that it also highlights how Nick takes so many things for granted, kicking him once more for his mistakes and how he, Nick, is the creator of his pain, a pain Present Nick can’t imagine, an empathy he’s never experienced until the moment he lost his friend. Of course, telling us things is less effective than showing, which is why MNNA includes moments like the one with Mike and Nick chatting about their past, but also of Mike and Alice meeting and connecting in the most glorious, heartwarming, and truly romantic way. In this way, MMNA is really Mike & Nick & Nick & Alice & Mike & Alice, but that doesn’t have as strong a ring to it.
The Furious
Where To Watch: Available on VOD and digital July 7th, 2026.
Official Summary:
After the daughter of Wang Wei (Xie Miao) is kidnapped by a criminal network and he receives no help from the corrupt police, Wei sets out on a rampage to find her himself. His only ally is Navin (Joe Taslim) – a relentless journalist whose wife has mysteriously disappeared. Fueled by a furious vengeance, the unlikely duo ruthlessly fights against the kidnappers in this explosive martial arts showdown.
The Furious is a film that entirely lives up to its title and the hype. The characters are fueled by the kind of rage that empowers one to push through unimaginable physical pain, making each effort a matter of spirit. As long as that doesn’t break, everything else will hold and no other force on this planet can stop them. Of course, as we learn, this applies to everyone in the story, so don’t expect the leads to be the only ones imbued with such a gift of violence and, cinematically, audiences all the better for it. Thankfully, in part to the cast and the approach of the script, the action may be what audiences show up for, but the ride they’re given feels entirely earned. We worry for the safety of the characters we care about, we cheer when they overcome, and we hurt when victory could be out of reach. Because of this, The Furious isn’t just a high-octane thrill-ride (which it very much is), the pathos within it makes any desire to return absolutely worth it.
Never After Dark
Where To Watch: In theaters September 25th, 2026.
Official Summary:
A wandering medium, Airi spends her life guiding restless spirits out of the world of the living. Summoned to an isolated country house, she comes face to face with a grotesque apparition with powers that defy Airi’s experience. As she digs deeper into the house’s past, a secret comes to light — and Airi finds herself hunted by a far more unpredictable force. For the first time, her greatest adversary is not the supernatural, but the living.
Because Never After Dark wears its influences boldly and its procedural-like approach doesn’t lend itself to much fright at first, some horror hounds may long for daylight. Do give this title time. Allow its characters, their environment, and their predicament to expand before you tap out. There is a time and place for bloodlust and an offering is made to those who long for it in their cinema experience; however, credit to Boyle for not giving in immediately. Rather, knowing full well what audiences want to see, Never After Dark frequently leans into the expectations with its own specific approach. This push-pull makes the whole of the film playful and fun while entirely thrilling and unpredictable when the terror starts to set in. In a longer, more spoiler-filled review, one could write at length about the presumed influences on Boyle’s script, the homages in the cinematography, and the promising approach utilized to freshen up the “medium in a ghost story” horror tale. For now, though, enjoy what is and stay alert so that you yourself doesn’t pass through the veil until you’re ready.
In Memoriam
Where To Watch: Festival Circuit.
Official Summary:
Langston (Marc Maron), a once respected actor now relegated to one scene gigs, is stuck in the past. With a teenage daughter he barely knows and a much younger girlfriend of which he has little in common, he’s plagued by a relentless, ongoing awareness of what could have been. But his constant state of egotistical bitterness and regret is rocked when a shocking terminal diagnosis motivates him into action. What is the one thing that a man like Langston feels will prove his life was worth something? A place in the Academy Awards® “In Memoriam” segment, of course.
Admittedly, as someone who’s a fan of films like Hollywood Shuffle (1987), The Player (1992), and Tropic Thunder (2008), Burnett’s In Memoriam already has me one-foot in for it because of the way it uses a cavalcade of established talent to skewer the ridiculousness of the Hollywood machine from the false adulation that can exist between manager and client, the influencer-to-actor pipeline, the perception of self built upon the need for adulation, and the backroom deals that seek to manipulate public perception. Movie making is about generating a believable fantasy while acknowledging that it’s all a fallacy, which is why films like this are so damned funny. However, Burnett doesn’t ever forget that this is a human-driven piece and Maron’s never been better, even when in scenes with titans of the industry, not only holding his own but finding ways to share the light.
L-R: Marc Maron as Langston and Talia Ryder as Maura in IN MEMORIAM. Photo courtesy of Tribeca Film Festival.
AI: Probably Nothing to Worry About
Where To Watch: Festival Circuit.
Official Summary:
The definitive documentary on AI’s origins, told by the people who built it. A thriller-paced reckoning with ambition, rivalry and the question that now haunts everyone: Will artificial intelligence save humanity or destroy it?
Commodification is a natural occurrence in society. An extension of the barter system, instead of merely trading goods for other goods, it enables individuals to earn money based on the services they provide. Commodification presupposes that something an individual creates holds value and is, therefore, worth purchasing in order to avoid doing or creating for oneself. In the world of computing, the convenience of being able to contact someone anywhere brought forth the creation of the mobile phone, electronic mail, and, eventually, a singular device that could empower someone to do everything they could ever desire from the palm of their hand. However, a transition has occurred wherein the object one uses is no longer the commodity, you, the consumer, are. You are now the commodity being sold back to you, whether in the form of ads or, now, in the form of information. Having its world premiere in the Spotlight Documentary section of Tribeca Film Festival 2026, filmmaker Nick Holt’s (Between Life and Death) latest documentary, AI: Probably Nothing to Worry About, posits more than a concern for whether or not artificial intelligence (AI) is coming, but whether or not the people forcing individuals to use it have considered the ethical and social implications.
Geoffrey Hinton in AI: PROBABLY NOTHING TO WORRY ABOUT. Photo courtesy of Tribeca Film Festival.
Time Warp
Where To Watch: Festival Circuit.
Official Summary:
50 years after The Rocky Horror Picture Show electrified audiences, a drag theater company in the once-booming mining town of Rock Springs, Wyoming, stages a shadow cast of the cult classic. Led by the charismatic 25-year-old performer Kenny Starling, the determined troupe spotlights the ongoing fight for queer visibility and acceptance in their community.
Life is all about choices. We can choose where to live, what to do, how to dress, and how to represent ourselves. Someone decided that makeup, dresses, and dolls, for instance, are things girls and woman trade in, despite the fact that how they’re used or worn has nothing to do with genitalia or gender/sexual expression. If someone can decide what self-expression is ok, then, one surmises, that self-expression is not actually permitted if it must be approved by committee. Through Time Warp, Berg posits that there are just as many things we don’t choose as there are things we do. We don’t choose who we are in relation to who we’re attracted (or not), but we can certainly choose how to express affection for others (i.e., be a good human). We can choose to create a world filled with laughter, love, and art. We can choose to uplift marginalized voices who aren’t hurting anyone. We can choose to transform a dream into physical reality. In other words, if we can dream it, we can be it. Even as the conservative few seems determined to rip away any protections or place for those not cishet European, performances like the one Kenny organizes are even more rebellious than the counter-culture revelation O’Brien’s original The Rocky Horror Show production ever was. In this way, Berg’s Time Warp is as much a declaration of love-wrapped determination for a specific piece of art as it is an assertion that art is the way to fix our hearts.
A scene from documentary TIME WARP. Photo courtesy of Tribeca Film Festival.
Kill Me
Where To Watch: Festival Circuit.
Official Summary:
Jimmy wakes up in a bathtub filled with his own blood, his wrists slit and his life rapidly nearly completion. This would be a textbook failed suicide attempt, only…Jimmy didn’t do it? At least, he’s pretty sure he didn’t. Alongside Margot, the 911 operator who took his call that faithful night, Jimmy begins an amateur-hour murder investigation, desperate to prove that this is a whodunnit and not a hedunnit. The list of suspects who might be happy if Jimmy wasn’t around anymore is fairly long—angry ex-girlfriends, frustrated siblings, exasperated psychiatrists, and resentful stepfathers. But the prime suspect is Jimmy himself.
Depression lies. Amid all the things that are uncertain in the complexity of treating the human mind, the only thing we know for certain is that depression lies. Worse yet, it’s an internal manifestation, making it all the harder to ignore. From these lies a worldview is born, one which individuals feel they cannot overcome, one which manifests for the individual a perception that the problems of the world might cease if they weren’t within it. What does it take to snap one out of such a realization? What does it require for someone to see the difference between internal manipulation and external? Taking a dark-tinged comedic swing at such a question is writer/director Peter Warren’s feature directorial debut, Kill Me, having its world premiere in the Spotlight section of SXSW Film & TV Festival 2026. Spinning a mystery born out of trauma and using humor to medicate the pain, Kill Me is a hilarious, dark, and profoundly honest tale of someone just looking for someone to listen, really listen, and see who they are, not what their illnesses make them out to be.
Charlie Day as Jimmy in KILL ME. Photo Credit: XYZ Films. Photo courtesy of SXSW.
Blades of the Guardians: Wind Rises in the Desert
Where To Watch: Available on VOD and digital June 30th, 2026.
Official Summary:
Dao Ma, the “second most wanted fugitive,” who is entrusted by his benefactor, the chief of Mo family clan, to take on a mysterious escort mission-escorting the “most wanted fugitive,” to Chang’an.
All that said, it’s a Yuen Woo-Ping picture starring some of your favorite martial artists of past and present in a film whose narrative speaks to the importance of a community uplifting all for the betterment of the whole society. If one weren’t aware that it’s based on a comic, one might even presume Blades of the Guardians to be borrowing from one of many myths or folktales from which many Hong Kong actioners derive — that’s how strong the internal logic and execution of the action is. The script balances martial arts action with drama, comedy, and thrills so that the humor comes through as an earnest release from tension without ever undermining the stakes; a thrill-ride from start to finish, which, if we’re lucky, is only the start of this epic adventure.
Normal
Where To Watch: Available on physical and digital formats.
Official Summary:
For Sheriff Ulysses (Bob Odenkirk), his provisional posting to the quaint Midwestern American town of Normal was meant to be a welcome respite from both his marital woes and recent moral injuries in the line of duty. But when a botched bank robbery interrupts the municipality’s tranquil pace, a dark secret is inadvertently exposed, and Ulysses soon discovers that the town is anything but its namesake.
Because of what audiences have now come to expect from Kolstad as a world-builder and Odenkirk as an ass-kicker, there are going to be many expectations set before the film begins. Couple that with Wheatley as director and audiences are going to expect Normal to be anything but. Thankfully, it delivers on all fronts. Even when it backslides to a few action genre tropes regarding wounds, it largely takes the audience and itself seriously, maintaining the rules of reality with such deference that any break from them due to environmental factors just feels like an acceptable inevitability. While there’s still a lot that’s familiar with the Kolstad bag of tricks, there’s enough original mixed together with the familiar that the whole is a solid bit of entertainment that’ll play well on the first or several of watches.
New Group
Where To Watch: Festival Circuit.
Official Summary:
From the director of the Overlook 2025 winner for Scariest Feature, Best Wishes to All, comes a terrifying new vision of youth, conformity, and authoritarianism as the students inside a modern high school are violently forced to become part of increasingly disturbing, physically demanding and surreal tasks in order to assimilate.
As a sophomore feature, Shimotsu is revealing himself as a director to show up for. Both New Group and Best Wishes to All (2023) dare to challenge Japanese society and systems at large. They each utilize horror elements, not to terrify or upset audiences, but to get them to see the ideologies they engage with every day in a different way so as to shock them out of complacency. To its credit, New Group doesn’t totally admonish those who seek to find their own groups, acknowledging that grouping is natural and, in many ways inevitable, but it doesn’t have to be exclusionary or toxic. Groups can be unifying and supportive without the requirement of conformity. In numbers, we can do just as many terrible things as wonderful things, so why not band together to uplift, advise, and grow.
Decorado
Where To Watch: Available on digital now.
Official Summary:
Something is wrong in the city of Anywhere. Arnold, an unemployed middle-aged mouse, confides to his wife Maria that he suspects his entire world is nothing more than a set, and his life a scripted performance. When his best friend Ramiro dies under mysterious circumstances, he traces the conspiracy to a monolithic corporation whose influence reaches every corner of their daily lives.
Reality is what we make of it. The things that we give value to make the things in our lives real and provide meaning. The struggle is often the creation of meaning in a world that’s turned entirely consumptive. If what you *do* doesn’t create monetary value, then it’s deemed less-than compared to anything else. Someone isn’t even deemed a professional unless they’re getting paid for something, even if the thing being done brings an individual joy. This isn’t an argument for the notion that “doing what you love means you never work,” because that idiom is outdated bullshit as work is work, regardless of how much delight it brings and balance is necessary. It’s necessary to ensure that one doesn’t lose the bonds with their loved ones, to maintain their individual center, and to not fall adrift into the seductive stream of dopamine brought about by consuming for the sake of consuming. When we give others permission to construct our reality, that’s when we really lose. But would we ever know it if we didn’t stop once in awhile and consider who’s providing the scripts, who’s instructing the characters, and whose hand is on the curtain rod? Disquieting and poignant amid beautifully grotesque scenes, Decorado ponders the risk of questioning one’s reality and the reward of truth.
Mum, I’m Alien Pregnant
Where To Watch: Festival Circuit.
Official Summary:
When a messy millennial underachiever accidentally gets alien-pregnant, she must overcome skeptical doctors, a useless baby daddy, and her oversharing mum in order to survive and reclaim her life.
Mum, I’m Alien Pregnant is not likely going to convince anyone to get pregnant, but it will have everyone who has ever been or known someone to be pregnant laughing even amid the discomfort. There is so much accuracy in the way that people respond to someone who is pregnant (medical professionals and laypeople), the way that the natural presentation of pregnancy can make someone feel at a loss of control in their own body, and how being pregnant can consume someone whole. For those who work to become pregnant, it’s a joy when it succeeds. It can feel like a miracle, if only because it’s not as easy for all to accomplish. But it does bring with it some truly unnerving moments, all of which are beautifully weaponized by Thunderlips and Lynch.
Who Killed Alex Odeh?
Where To Watch: Festival Circuit.
Official Summary:
In October 1985, Santa Ana, California was shaken by the assassination of Alex Odeh, a beloved teacher and community leader killed by a tripwire bomb in his office. Despite clear evidence and identified suspects, no one was ever held accountable. Who Killed Alex Odeh? reopens the case as a gripping cold-case investigation, following a renewed search for justice in real time as long-buried leads resurface.
In 2026, it’s difficult to be proud of being Jewish. Stories like Who Killed Alex Odeh? only make the identity difficult to wrestle with as the reality of the complexity of Judaism as it correlates to the diaspora shatters the notion that we’re one people with different approaches to faith instead of the harsh truth which is that we’re just as capable of seeking genocide as any other faith, despite the ways in which genocide has touched us in the modern era. Through their film, Odser and Youmans not only inform unaware viewers of an unsolved crime clearly motivated by race-based hatred, they confirm that time doesn’t heal all wounds — it merely allows more time for the infection to spread, grow stronger, and do more damage. Justice for Alex Odeh. Justice for Palestine. And justice for all those harmed by individuals who cannot see just how much we hurt ourselves when we act to harm another.
Helena Odeh appears in WHO KILLED ALEX ODEH? by Jason Osder and William Lafi Youmans, an official selection of the 2026 Sundance Film Festival. Photo Credit: Therese Tran. Photo courtesy of Sundance Institute.
Ready or Not: Here I Come
Where To Watch: Available on physical and digital formats, as well as streaming on Hulu & Disney+.
Official Summary:
Moments after surviving an all-out attack from the Le Domas family, Grace (Samara Weaving) discovers she’s reached the next level of the nightmarish game — and this time with her estranged sister Faith (Kathryn Newton) at her side. Grace has one chance to survive, keep her sister alive, and claim the High Seat of the Council that controls the world. Four rival families are hunting her for the throne, and whoever wins rules it all.
Even with the way that Here I Come naturally continues the story freshly laid in Ready or Not, even with the new blood, and even with the amusing way that Le Bail is characterized in his appreciation of Grace, Here I Come still struggles to set itself apart from its predecessor. There’s a fine line for sequels between giving audiences something new and something familiar. Go too far one way, you can lose them entirely; go too far the other, it’s dull repetition. The fun is still here and is, perhaps, at its best through Weaving’s performance of Grace whose reluctance to sell her soul (proverbially or not) not only makes the audience constantly root for her, but has them delight so much in her ability to thrive by adhering to the rules so literally that quite anything is possible. If a third film were to be greenlight to throw the MacCaulley sisters once more into the breach, I’d be among the first to sign up to see it … but I would do so a bit more nervously as there comes a point when all games must end.
Supergirl
Where To Watch: In theaters as of June 26th, 2026.
Official Summary:
When an unexpected and ruthless adversary strikes too close to home, Kara Zor-El, aka Supergirl, reluctantly joins forces with an unlikely companion on an epic, interstellar journey of vengeance and justice.
Mixing the misogyny of Mad Max: Fury Road (2015) with the jaded protector pulled into battle of (pick a western) and the intergalactic affectations of The Ice Pirates (1985), Supergirl treads a different path from Superman, holding to the promise that each DC Studios title would be different from the next. Unfortunately, in this case, the narrative follows so many well-tread paths that the surprises are few, even if the thematic moments hit powerfully and the performances from the central cast, especially Alcock, ring true. Supergirl may not be the winning outing audiences may hope for, but it’s also not a lost cause, laying the groundwork for a compelling hero who may be exactly what’s needed Tomorrow.
They Will Kill You
Where To Watch: Available on physical and digital formats, as well as streaming on HBO Max.
Official Summary:
A young woman must survive the night at the Virgil, a demonic cult’s mysterious and twisted death-trap of a lair, before becoming their next offering in a uniquely brazen, big screen battle of epic kills and wickedly dark humour.
They Will Kill You is a satisfying watch. Beetz positively demonstrates that she’s not only capable of holding down her own projects, but she’s an underrated actor for action titles. Likewise, co-stars Tom Felton (Harry Potter series), Heather Graham (Suitable Flesh), Myha’la Herrold (Bodies Bodies Bodies), Paterson Joseph (Wonka), and Arquette (True Romance), match her energy and the intentionally elevated tone of the film so that their larger-than-life performances correlate to the equally wild circumstances. Though They Will Kill You incorporates a few predictable moments (both from the utilized structure and by hanging specific narrative beats on Inferno), it succeeds in entertaining audiences with humor, heart, and explosive action that leaves a blood trail from the first floor all the way to ninth.
Over Your Dead Body
Where To Watch: Available on VOD and digital now.
Official Summary:
A dysfunctional couple head to a remote cabin to supposedly reconnect, but each has secret plans to kill the other.
Over Your Dead Body is frequently silly and is genuinely honest at times in the way that it removes all distractions for the central characters to get them to do what they should’ve done all along: communicate. If a couple isn’t meant to be, breaking up takes far less effort and comes with less potential jail time than murder, even if that seems like the more satisfying option. Even when the script is hampered by its tether to the source material, there’s always some outlandish stunt to bring it right back into its stride. Most impressively, Weaving and Segel do the trickiest thing of all in one of these types of films, they make us believe that all it takes is a little truthfulness to reset a relationship. Is it enough to survive the day? Well, that’s something else entirely, and this reviewer isn’t talking.
Night Patrol
Where To Watch: Available to stream on Shudder.
Official Summary:
An LAPD officer must put aside his differences with the area’s street gangs when he discovers a local police task force is harboring a horrific secret that endangers the residents of the housing projects he grew up in.
To ignore history is to imprison yourself in repetitive cycles. Even worse, to make presumptions based solely on what you’re told is to doom yourself to being a keystone cause of those cycles continuing. This is a key component in the new horror thriller from filmmaker Ryan Prows (Lowlife), Night Patrol, which incorporates aspects of historical and cultural conflict that some may find triggering, while others may find ridiculous. Having had its world premiere at Fantastic Fest 2025, Prows’s Night Patrol, often cold and extremely cruel, is gearing up to advance into cinemas, bringing with it an agenda of violence from which none will remain unscathed.
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Categories: Films To Watch, Recommendation
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