Each year, I see only a handful of movies I’d ever consider unless circumstances warranted it. These are mostly films nominated for several Academy Awards (especially Best Picture) and those consistently recommended by social media influencers I follow. Sometimes I’ll check aggregate scores before deciding. Celine Song’s (Past Lives) Materialists won’t earn any Oscar nominations. It had lukewarm aggregate scores (77% critics, 65% audience on Rotten Tomatoes, 6.2/10 on IMDB, 70 on Metacritic). These two things, combined with a plot that didn’t pique my interest, made me think this movie wouldn’t see the light of day. However, it felt like every movie influencer I follow kept singing its praise, with many in their end-of-year Top 20. It was enough to give it its fair chance.
Heart of the Beast (2026)
You’ll probably cry, but should you? Director David Ayer (End of Watch, Harsh Times) reunites with Brad Pitt (F1: The Movie, The Curious Case of Benjamin Button) for the first time since 2014’s Fury. At the time, Fury was Ayer’s most successful movie, earning $85 million at the box office domestically while receiving positive critic (75%) and audience (84%) scores on Rotten Tomatoes. Since then, Ayer’s directed films have mostly been hit or miss, except for 2024’s The Beekeeper. Known for edgier, in-your-face action movies, Heart of the Beast shows he can deliver a more personal, poignant story without an array of characters.
The Dog Stars (2026)
Much has been made of Ridley Scott’s (Prometheus, Robin Hood) films in the last decade or so as being a far cry from those earlier in his career. Highly anticipated, high-budget films such as House of Gucci, The Last Duel, Gladiator II, and Napoleon have failed to deliver either critically or financially. While three of the films turned a profit, The Last Duel grossed just $30 million off a $100 million budget, though it was the highest-rated of the four on Rotten Tomatoes (critics), IMDB, and Metacritic. I saw all four in the theater. I thought The Last Duel was great, Gladiator II was good, and the other two were terrible. The budget for his most recent film, The Dog Stars, was around $80 million, similar to House of Gucci and The Last Duel. Based on its audience and critics’ scores (40%, 71% on Rotten Tomatoes) and opening-weekend box office gross of just $8 million, The Dog Stars appears to be well on its way to being a massive flop. This will be a shame as it’s a pretty good, albeit flawed, film. Continue reading The Dog Stars (2026)
Little Fish (2020)
Little Fish, the limited release and widely underseen 2020 film from Chad Hartigan (The Threesome, Morris From America), was a movie that captivated me so much that I turned it off 30 minutes in while falling asleep late at night, knowing I could not give the film the full justice it needed, and started it from the beginning the next morning. Released straight to streaming during the COVID-19 pandemic, most who have watched this film likely did so through word of mouth or because they are fans of one or both of the two lead characters, each an A-list actor with a large following.
Marty Supreme (2025)
Continuing the trend of biopics with A-list actors that perhaps aren’t interesting or important enough to warrant such a big-budget production, the Timothée Chalamet-led Marty Supreme (Dune, Beautiful Boy) is among them. The story is based loosely on a period of American table tennis player Marty Reisman’s life. If you’ve never heard of Marty Reisman, you aren’t alone. He lived a very unremarkable life, one that is far from the kind of role that would require one of the best working actors to spend time on during the peak of his career. This wasn’t a story about the Marty Supreme. This was about creating a character that Chalamet could lead to his first Best Actor Oscar win, which I believe will happen.