Caleb Hammond

More Velvet Buzzsaw than The Square, The Gallerist suffers from piling on the references and refusing to give audiences a chance to breathe.

In the Blink of an Eye is 2026’s first true dud.

After masterfully plotting the slow build of dread, the climax feels rushed and derivative of other, better horror movies. Yet moments in the climax do succeed; the explanation for that banging-on-pipes sound is unnerving.

By and large, Buddy proves that high-concept, short-form premises can be expanded to a feature format effectively, so long as the final film isn’t too winky and its stakes feel grounded.

With a cavalcade of hilarious bits, inspired cinematography, and a willingness to earnestly be about something, The Moment serves as a bold reinvention of a mockumentary genre that, until now, was content to stick with pithy jokes.

For those willing to meet Wilson on his wavelength, The History of Concrete is a joyous ride full of his now-trademark detours and persistent, underlying sadness at both the state of New York (his first and true love) and, on a secondary scale, the world at large.

I Want Your Sex is not quite the comeback for Araki that’s been advertised, but it holds bright spots.

This is a compelling, cleverly constructed comedy-thriller with plenty on its mind. It satirizes the movie industry and authoritarianism while never pushing the comedy into outright farce. And it isn’t afraid to get real when necessary.

This centuries-spanning journey is a shallow, inconsequential one.

Juror #2 stands out as the best late-career Eastwood film, from an era with its fair share of gems.