Where Homer celebrates Odysseus as a hero returned, Nolan admonishes him as a harbinger of death. As heartbreaking as it is harrowing, the writer-director pulls on the thematic foundations of Tenet (2020) and Oppenheimer (2023) and once again asks the audience to reckon with one man’s destruction of the world.

Helped along by excellent performances from each of the four actors, the film weaves an elaborate game of push and pull through both poignant moments and hilarious banter that keeps you on the edge of your seat.

Minions & Monsters is not the first to point to Old Hollywood, but it’s particularly resonant as viewers find joy and amusement in the idea of these lovable little creatures so intentionally recreating scenes that are otherwise considered serious moments of cinematic history.

It’s riveting to see Kara on the big screen at full power. Her fight scenes are captivating and full of fun choreography, and Alcock’s perfect blend of rage and despair bubbling under the surface of Kara’s nonchalant exterior completely embodies the iconic hero.

But the most impressive part of Leviticus is that it doesn’t pretend the shame or fear start and end. There is not a full stop. There is no natural conclusion to hurtle toward. And there is no definitive expiration on the tension queer people feel all their lives.

Harris perfectly blends the silly with the sinister, crafting unique and quirky characters that provide moments for off-hand situational comedy but also slowly grow the dark cloud that is their father. By the time his face graces the screen in the final act, his reputation precedes him.

On a random evening in a Los Angeles diner, a “man from the future” (Sam Rockwell) assembles an unlikely team of strangers to rid the world of a rogue artificial intelligence. What follows is a frantic race to save humanity from its own creation.

Balancing the film’s weaker moments and its tendency to rely on rather superficial aspects of its story, Zendaya and Pattinson both deliver impressively nuanced interpretations and manage to bring a strong physicality to the internal struggles of their characters.

Shot over the course of only 18 days, Wasteman (2026) is an adrenaline rush that never subsides. It is a pressure cooker of a film. There is a consistent, thrumming tension in even the stillest moments thanks to a searing script by Hunter Andrews and Eoin Doran.

Unlike Soderbergh’s previous film, 2025’s sexy spy thriller Black Bag, the director takes a more muted, intimate approach as he attempts to find the connection between art and relationships.

Directed by Christopher Miller and Phil Lord, with a formidable score by Daniel Pemberton and impeccable production design by Charlie Wood, Andy Weir’s Project Hail Mary is brought to life with the purpose of making it a visual experience.

Some had high hopes; Saltburn was generally well-received and a similar thriller would fit the gothic horror of Wuthering Heights, while others dreaded her campy style and worried she would miss the target in the interest of modernizing the story to fit her whims. Now that theaters are packed with curious viewers, the verdict is out: It’s bad.

Between sweeping wide shots of rolling green hills to a close-up on creative and awe-inspiring wounds and practical effects makeup, The Bone Temple is truly a visual treat for nature and horror enthusiasts alike.