Many stories, movies, and even the way we casually talk about our lives condition us to believe that life is defined by its peaks and valleys: graduations, weddings, breakups, career changes, and other milestones that punctuate our personal narratives. Everything else is often treated as connective tissue between the moments that supposedly matter. I often think of a line from Don Hertzfeldt’s 2012 film It’s Such a Beautiful Day, where the main character drops his keys on the counter and thinks about all the times he’s done that before “and how many days of his life were wasted repeating the same tasks and rituals in his apartment over and over again. But then he wondered if, realistically, this was his life, and the unusual part was his time spent doing other things.” The milestone moments we use to measure our lives are rare. Most of our existence occurs in the mundanity, in the quiet repetition of daily habits and routines. Yet when we look back, it is often those seemingly insignificant moments that carry the greatest emotional weight. This understanding—that a life is ultimately shaped less by its defining events than by the accumulation of small memories—sits at the heart of Memorizu.

The problem with so many modern-day sequels is that they rarely do enough to justify their existence, often feeling like shameless cash grabs that resort to recycled storylines. That's part of what has always made the Toy Story films so refreshing: they consistently find a new story that has something meaningful to say. The lengthy gaps between installments are a testament to that. If Pixar were simply interested in cashing in on the franchise, we'd likely be getting a new Toy Story movie every year or two. Instead, the studio takes its time, only returning to these characters when it has a story it genuinely believes is worth telling. When Andrew Stanton’s Toy Story 5 was announced, many people's first reaction was, "Do we really need another one?" In an era where childhood looks radically different from what it did when the franchise began, the answer is a resounding yes.

If ever there was a movie deserving of a companion documentary, it is Cruising, William Friedkin’s 1980 queer crime thriller. The film was steeped in controversy upon its release but is now widely revered as a classic. It was also partially inspired by the murder of Addison Verrill, blurring the line between fiction and real-life tragedy. What’s even more fascinating, however, is that Verrill was a film reporter for Variety who had written about Friedkin’s The Exorcist (1973), and the man who murdered him, Paul Bateson, had appeared in that very film. This astonishing chain of associations only deepens the intrigue surrounding Cruising and its origins.

Amanda Kramer’s eccentric, quirky sensibilities and Magdalena Bay’s dreamy, ethereal music are a match made in creative heaven. Imaginal Disk serves as the visual accompaniment to the pop duo’s 2024 concept album of the same name. Magdalena Bay consists of Mica Tenenbaum and Matthew Lewin, both of whom star in the companion film. Not only did the duo create the music, but they also wrote and edited the project. Kramer’s direction brings their artistic vision to life, resulting in an experimental film that fully captures the band’s spirit. It’s a wacky, chaotic explosion of color and absurdity.

Tony Kaye’s Humpty Dumpty X is unlike any documentary I’ve ever seen before. Whether or not that’s a good thing, however, is up for debate. The film, which has been 23 years in the making, follows the filmmaker’s experiences during the production and aftermath of his 1998 film, American History X. The documentary consists of a variety of Kaye’s own behind-the-scenes footage, phone calls, candid conversations, and bizarrely creative rants.

People are saying Disclosure Day is Steven Spielberg’s best movie in over 20 years, and I disagree. That’s mainly because I adored his previous film, The Fabelmans, which was in my top 10 of 2022. Still, after a career defined by science-fiction classics such as Jurassic Park (1993) and two of the most celebrated alien films ever made—Close Encounters of the Third Kind (1977) and E.T. the Extra-Terrestrial (1982)—Disclosure Day feels like a major return to form for the filmmaker.

I’ve always been drawn to films about addiction, which means I’ve seen more movies on the topic than I can count. As a result, an addiction drama has to do something truly out of the ordinary to leave a lasting impression on me. However, that isn’t a fair standard by which to judge a film. What matters most to me when watching a movie about addiction is its authenticity—that it neither glamorizes nor sensationalizes the subject. While it may not do anything particularly groundbreaking, Daniel Blake Schwartz’s Cotton Fever is a solid feature directorial debut. It not only feels astonishingly authentic but is also a raw, gritty portrait of addiction that feels intensely personal for the filmmaker.

Michael LaHale’s documentary Bob and David Climb Machu Picchu delivers on the promise of its straightforward title. The film follows actors and comedians Bob Odenkirk and David Cross as they embark on a quest to climb the iconic site of Machu Picchu. This documentary will especially appeal to fans of Mr. Show with Bob and David, but the duo’s comedic chemistry and enduring friendship prove rewarding even for viewers unfamiliar with their earlier work together.

One of the most iconic lines from the 1990s sitcom Boy Meets World comes in the form of Topanga’s yearbook quote: “You do your thing, and I do my thing. You are you, and I am I. And, if, in the end, we end up together, it's beautiful.” Decades later, that sentiment feels especially fitting for stars Danielle Fishel, Rider Strong, and Will Friedle, whose paths ultimately led them back to one another. It began with their rewatch podcast, Pod Meets World, in 2022. Following its success, the trio took the show on the road with their “The Kids Wanna Jump Tour.” Now, Chris Levitus and Zane Rubin have chronicled the experience in the documentary Doc Meets World, a look at friendship, fandom, and the enduring legacy of a beloved sitcom.

Katie Holmes’ latest endeavor is an ambitious one: writing, directing, and starring in a romance trilogy. Happy Hours sees her reuniting with her Dawson’s Creek co-star Joshua Jackson. The two still share some chemistry after all of these years, yet that’s not enough to salvage a subpar screenplay.

Jamie Adams’ new film Only What We Carry boasts an impressive ensemble cast, including Quentin Tarantino in his first major acting role since From Dusk Till Dawn (1996). In addition to Tarantino’s first substantial role in 30 years, the eclectic ensemble also includes Simon Pegg, Sofia Boutella, Charlotte Gainsbourg, Lizzy McAlpine, and Liam Hellmann. Even more remarkably, Adams shot the entire feature in just six days with this six-person cast. The film wears its French New Wave influences on its sleeve, drawing obvious inspiration from Éric Rohmer and Jean-Luc Godard. While Adams enthusiastically embraces the movement’s conversational looseness and improvisational spirit, Only What We Carry likely won’t work for audiences unwilling to surrender to its meandering rhythms.

Fernanda Tovar’s debut feature, Sad Girlz, premiered in the Generation 14plus section of the 76th Berlin International Film Festival, where it won both the Crystal Bear and the Grand Prix of the International Jury for the Best Film in Generation 14Plus. After seeing it, I wouldn’t be surprised if it emerges as one of the standout films of this year’s Tribeca Festival as well. An astonishingly assured debut, Sad Girlz tackles difficult topics with remarkable sensitivity, balancing its heavy themes with a comforting warmth that feels like a hug or a familiar shoulder to cry on.

There is a strong narrative and thematic throughline in director Jane Schoenbrun’s work. Their films explore how the media we consume also consumes us, while simultaneously telling stories about identity and sexuality that resonate with audiences—especially members of the LGBTQIA+ community—in unexpected ways. Their latest film, Teenage Sex and Death at Camp Miasma, is no exception. However, it marks a step in a new and exciting direction for Schoenbrun. Despite the buckets of blood in Camp Miasma, the film is not nearly as dark as their previous works. There is a surprising amount of levity and laughter coursing through its veins. In fact, the idea for Camp Miasma first arose when Schoenbrun’s partner suggested that their next film be something “gay and fun.” On that front, they certainly succeeded.

It’s been 12 years since Gregg Araki’s last film, White Bird in a Blizzard (2014), a work that felt only faintly recognizable as a Gregg Araki picture. I Want Your Sex not only serves as his first feature since then, but also marks a major return to form for the auteur. It’s refreshing to see a movie with Araki’s signature style on the big screen in 2026, and equally refreshing to see a film embrace horniness and sexuality with such unapologetic enthusiasm. It’s as if Gregg Araki heard the discourse about how Gen Z wants less sex in movies and TV and decided to push back. With I Want Your Sex, he seems to be shouting from the rooftops that there’s nothing wrong with being horny and that we need to make movies sexual again.

Spoiler-free video review of Backrooms, directed by Kane Parsons, starring Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, and Lukita Maxwell.

I believe Don Hertzfeldt’s short film Paper Trail is best experienced without any prior knowledge of what it’s about. Unfortunately, that also means I can’t really write about it without revealing too much. So, if you haven’t seen the film yet, please stop reading this and go watch it. However, if you don’t trust me and aren’t concerned about spoilers, then by all means, continue reading.

Watching Paper Trail feels like experiencing a rollercoaster of emotions, one that begins with curiosity and confusion. As blobs of color plop onto the screen and squiggly lines dance across it, you may find yourself wondering, “What exactly am I watching?” But once the realization sets in, that confusion dissipates and there’s an indescribable feeling that washes over you as Hertzfeldt’s intentions become clear.

As the squiggly lines gradually transform into doodles, it becomes evident that we’re watching a child learn and grow. We see him learning to write and spell as elementary school assignments flood the screen. There’s something deeply heartwarming about witnessing that transformation. His development feels universal, making the film’s opening moments resonate in a way that invites viewers to reflect on their own childhoods.

There’s a moment early in I Love Boosters where a fashion designer comments on a turquoise—or aquamarine, depending on who you ask—dress. She describes the color choice as “ballsy.” That word does more than describe a dress; it also perfectly encapsulates the film itself. Between this and his directorial debut, Sorry to Bother You (2018), it’s become abundantly clear that nobody is making movies quite like Boots Riley. His films refuse any inclination toward restraint. They’re audacious, anarchic, and unapologetically absurd. Every frame is filled to the brim with imagination and visual inventiveness. I swear, Boots Riley has more creativity in one of his fingernails than most people have in their entire bodies. Watching one of his films feels like witnessing someone operating on a creative wavelength that’s light-years ahead of everyone around them.

Spoiler-free review video of Curry Barker’s film Obsession starring Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, and Andy Richter.

Kyle Balda’s The Sheep Detectives delivers on the promise of its title. Based on Leonie Swann's 2005 novel Three Bags Full, the film is a detective story in which a flock of sheep sets out to solve a murder. Craig Mazin’s thoughtful screenplay delivers a steady mix of humor, heart, and surprises. However, the biggest surprise of all is how much emotional depth is hidden beneath all that wool.

Video review of Billie Eilish — Hit Me Hard and Soft: The Tour (Live in 3D) directed by Billie Eilish and James Cameron