
Reviews for ten more 2026 released films, roughly in order of preference from best to worst (though there are no masterpieces or any real duds.)
Blue Film
Between this and his cameo nervously copping a feel (!) in Martha Coolidge’s Not a Pretty Picture fifty years ago, Reed Birney’s had quite the career. On the basis of his work here, Kieron Moore should have a notable one as well. A nuanced, thoughtful film regarding sex and identity and we can never have enough of those.
Fantasy Life
A solid feature debut from actor/director Matthew Shear with excellent work from Amanda Peet, playing a washed-up actress with wisdom and familiarity. Also, it’s the rare affluent NYC film that nakedly acknowledges its characters’ privilege rather than treating it as a given. If that’s not enough, Bob Balaban plays an asshole and does so with much of the finesse of his stock meek beta-males.
Yes
Presenting a crazy and cruel world where it’s okay to laugh at the insanity and simultaneously feel utterly conflicted about doing so. Nadav Lapid really Goes For It here, but he comes out the other side in an earned state of redemptive catharsis, maybe even some enlightenment. Who’s up for making an American equivalent of this about the state and culture of its dubious government?
Mr. Nobody Against Putin
One person can’t necessarily change the world, but they can make enough of an impact to encourage others to support them. Where the film makes its impact is in showing how the personal is political. Not sure I would’ve given this the best documentary feature Oscar, but I’m not mad it won.
The Ozu Diaries
The literal diaries actually elevate this beyond your standard narrated/talking heads/film clips documentary overview; it also helps that the calm, measured style is like a cousin to Ozu’s own.
Islands
“Some of them want to use you, Some of them want to get used by you.” Annie Lennox may have sung these words 40+ years ago, but they’re forever relevant. Here, the used is an ex-pat tennis instructor in the Canary Islands and the users are a wealthy vacationing couple, or is it the other way around? Little here resembles director Jan-Ole Gerster’s earlier character study A Coffee In Berlin but this understated Hitchcockian thriller shows he’s not a one-trick pony.
Disclosure Day
Notable for Spielberg attempting to capture the magic of Close Encounters and E.T. and very nearly getting there at the end, even if it means a lengthy buildup that occasionally relies on too much spectacle and not enough exposition. Also, I’ve rarely liked Emily Blunt more. Colman Domingo’s in every single film now and that isn’t a complaint.
OBEX
As with Computer Chess, it’s a kick to see (even with the sci-fi elements on display) the 1980s closer to what they actually were (darker apartments, analog equipment) than the usual neon color-accented redo. Was hoping for something more novel than the immersive video game it becomes from director/star Albert Birney (Reed’s nephew!); still, I couldn’t argue with the final takeaway which confirms the value of getting out of the house once in a while.
The Stranger
Not fully convinced of the necessity of Ozon’s Camus adaptation which too often veers towards the aesthetics of those pretentious Calvin Klein Eternity ads; I wasn’t too keen on Voisin either until he revealed the long game he played with his performance in that alarming, purgative moment near the end.
Stop! That! Train!
Almost grudgingly giving this purposely silly RuPaul-meets-Airplane! thing a pass because it’s fun, the cast is superb and it’s slightly better than The Bitch Who Stole Christmas (if not by much; same screenwriters after all.)











