A Hollywood love letter that actually earns its bananas. Pierre Coffin sends the Minions to 1920s Hollywood and delivers the best entry in the franchise since the first Despicable Me.

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.