A Hollywood Love Letter That Actually Earns Its Bananas Despite kickstarting and financially sustaining an entire new animation studio, the Despicable Me and Minions films devolved from Oscar-nominated fare into entries that barely meet the legal definition of a movie. Illumination and Universal had resorted to cashing in on the supremely memeable and merchandisable Minions characters, making them the centerpiece of films that barely featured a plot and were instead an amalga

Curry Barker's debut lingers long after the credits roll. A richly layered horror film about desire, manipulation, and the damage we do, anchored by an indomitable performance from Inde Navarrette.

Kara Zor-El arrives. The film around her does not. Milly Alcock is magnetic as Supergirl, but a passionless script and studio interference squander DC's most promising new asset.

A worthy toy, buried under too many boxes. Jessie finally gets her due as the emotional core of Toy Story 5, even if Pixar can't quite let go of Woody and Buzz long enough to let her story breathe.

A familiar light in the sky, dimmer than before. Spielberg returns to aliens with gorgeous craft and John Williams back at the score, but Disclosure Day plays almost like a remake of Close Encounters, minus the emotional core that made the original a classic.

The Wayans return, but the jokes don't. Scary Movie (2026) starts promisingly then loses focus entirely in a second act of disconnected parody skits that can't replicate the sharp wit of the original.