Project Hail Mary (2026)

Project Hail Mary (2026) is based on the novel by Andy Weir, who brought you The Martian, and directed by the duo Phil Lord and Christopher Miller, known for The Lego Movie and 21 Jump Street. They bring a surprising amount of heart and clarity to a story that could have easily become too technical or isolated. The film balances science, humor, and emotion well, never losing focus even when it narrows down to one man against impossible odds.

Ryan Gosling, known for Blade Runner 2049 and La La Land, delivers a flawless performance. He carries much of the film alone, forced to express a wide range of emotions without always having another actor to bounce off of. It is a demanding role and he handles it effortlessly, making the isolation feel real without ever losing the audience’s attention.

James Ortiz plays the alien, which is not a spoiler given the marketing. His performance brings personality and charm to a character that could have easily felt gimmicky. The interaction between him and Gosling becomes one of the film’s strongest elements.

Sandra Hüller, known for Anatomy of a Fall and The Zone of Interest, has a supporting role but makes a strong impression. She brings a European intensity and seriousness that contrasts well with the film’s lighter moments, adding weight whenever she appears.

Overall, Project Hail Mary is a well balanced sci fi film carried by a standout lead performance and strong direction. It manages to stay engaging even in its quietest moments. Result: A

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We Bury The Dead (2026)

We Bury The Dead (2026) is a slow burn post apocalypse film centered on grief more than horror. Directed by Zak Hilditch , best known for smaller projects like 1922 and Rattlesnake , this is his first step into a larger American production. You can feel the restraint in the direction, sometimes to the film’s benefit and sometimes to its detriment. The pacing is deliberate, almost stubbornly so, and while the mood is consistent, it rarely escalates into anything memorable. Daisy Ridley , best known for Star Wars: The Force Awakens , carries the film as a woman searching for her missing husband who may or may not have turned into a zombie. Ridley is solid and emotionally grounded, doing the best she can with minimal dialogue and long stretches of quiet reflection. Her performance is never the problem. If anything, she is the primary reason the movie remains watchable. The supporting cast is where the film struggles. Nearly every side character is written as painfully one note, existi...

One Night Only (2026)

One Night Only is a romantic comedy written by Travis Braun , creator of T.O.T.S. , that ultimately turns out to be something very different from what its marketing suggests. The trailers present it as a lighthearted Valentine's Day romance, but the film quickly pivots into a dystopian story that blends elements of The Purge with overt political commentary. Whether that shift works will largely depend on the viewer's expectations, but I found the bait-and-switch frustrating. The political messaging is so persistent that it frequently overshadows the romance at the center of the story. Despite that, the direction from Will Gluck is surprisingly strong, with confident staging and solid pacing that keep the film engaging even when the screenplay becomes heavy-handed. Gluck did Anyone But You and the romance really felt similar to the point I couldn't help but think of the film even though I had forgotten he had done the film back in '23. Another distraction is the amou...

fjord (2026)

Fjord is written and directed by Cristian Mungiu , best known for 4 Months, 3 Weeks and 2 Days and Graduation , and features Sebastian Stan and Renate Reinsve . This film is about a lot of things, but at its core, it follows a family trying to get their children back after they are wrongfully taken by child protective services. Along the way, the story explores faith, religious persecution, cultural differences, resistance to change, and the importance of community. There are plenty of political interpretations that viewers can take from the film, but I think Mungiu does something more interesting than simply taking one side or the other. The film can be interpreted as pro-immigration and pro-LGB, while also being pro-Christian and supportive of traditional family values. Rather than forcing the story into one ideological corner, Mungiu allows these ideas to coexist, creating a film that encourages viewers to consider perspectives they might otherwise dismiss. I appreciate that ap...

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