Josh Larsen

Brand New Day does nicely build on the final moments of Spider-Man: No Way Home.

Indeed, every actor brings a firm conviction to material that could slide into silliness or grandiosity with the slip of a single line.

If Is God Is falls short of being a provocative revenge movie (it also fails to intriguingly flesh out the many religious references, starting with the title), the film nevertheless serves as a calling card for Harris, should she want to pursue other projects for the big screen. There is a freshness to her technique that’s undeniable.

Obsession lost its slipperiness for me early on, perhaps because I placed a lot of weight on that inciting incident and Bear’s response to it. As such, the story became a bit tedious by the midway point. Riveting to the end, however, is the acrobatic act—physically and emotionally—that Navarrette performs as the villain/victim, depending on how you read things.

The dialogue is hilarious throughout, yet even better are the quick-twitch expressions of shock, anger, intrigue, and outrage Wilde offers in response. She delivers a screwball performance in which nearly every turn of the screw plays out across her face.

Possibly the messiest great movie of 2026.

Consider it a work of oblique horror, a ghost story that’s something of an apparition itself.

If Toy Story 5 doesn’t quite rise to the challenge of its conceit, it still offers plenty of familiar fun, with chase scenes aplenty and gags that rely on both visual and verbal humor.

Parsons proves to be an expert manipulator of space with the camera.

This largely struggles with tone, whiplashing between broad Rudd comedy, something more interestingly, bitterly humorous, and serious adult drama.