June 26, 2026
It’s hard to believe that 2026 is half over, but as the summer kicks into high gear, this is the season where Hollywood really earns their money. The good news is that the movie year is already off to an excellent start. The box-office is up over 10% since 2025 and it’s not the usual suspects that are driving the increase. While it’s no surprise that The Super Mario Galaxy Movie is the top earner in 2026, we have a wide variety of films in the top ten. Michael is headed to over a billion dollars worldwide, surely cementing the case for a sequel. While I wasn’t a fan of that film, it’s great that so many people are seeing it in theaters. Project Hail Mary, now available to watch at home, and The Devil Wears Prada 2, have each made almost $700 million.
As crazy as some of those numbers are, the wildest story of the box-office this year is the horror sensation Obsession. First, a little background on box-office math. For 99% of the movies in theaters, the highest grossing weekend is the opening frame. After that, success is measured by how much the movie “held” week to week, where a small decrease is considered outstanding. When a film plummets over 70% in week two, that means there is no buzz, audiences hated it, and told their friends not to see it.
What we saw with Obsession since it opened in May is, quite simply, defying gravity. The film opened to a strong $17 million, then increased 39% in its second weekend and increased another 14% in its third weekend. The fifth weekend results were higher than its opening weekend. This simply does not happen. How impressive was this performance? You’d have to go back to 1982 with a little film called E.T. the Extra-Terrestrial to find a similar pattern.
It goes to show you that box-office results can still be driven by old-fashioned word of mouth. Obsession has now earned over $300 million at the box-office, which is more than the new Star Wars movie The Mandalorian and Grogu. Just incredible. Not to be outdone, Backrooms, another horror sensation, is on its way to $300 million and is now A24’s highest grossing film in the studio’s history. Backrooms has also benefited from strong word of mouth, as well as a devoted following of the YouTube video series created by Kane Parsons, which inspired the film he directed. Oh yeah, he just turned 21. Hollywood is changing quickly and it’s very exciting to see. If you missed my thoughts on Obsession and Backrooms, you can find them here. And with that, we have another fun month of new releases to cover. Let’s dive in.
How to Write a Song – Power Ballad
Writer-director John Carney has found himself a very good niche with the stories he has been telling for the better part of twenty years. He brings interesting characters together (usually in his native Ireland), creates some tension, sprinkles in some romantic subplots, and (most importantly) adds top-notch songs. No, I’m not talking about classic hits to create a wonderful soundtrack in the vein of Cameron Crowe or John Hughes. I’m talking about original music written for the film, performed by the actors because the songs are integral to the story. As a lover of both music and movies, I am always intrigued when Carney announces a new project. His 2007 film Once is a beautiful story of two aspiring musicians who fall in love while pursuing their dreams. And his 2016 coming-of-age musical Sing Street is a brilliant combination of music, laughs, and sentimentality that I adore. Can his films be a little schmaltzy? Sure, but that doesn’t bother me if the story is executed successfully.
Power Ballad is Carney’s first picture since 2023’s Flora and Son (which was ok, but not great) and has three great things going for it – two stars in the lead roles, wonderful songs, and a terrific hook. Paul Rudd plays Rick Power, the lead singer of a wedding band in Ireland. He moved there years ago when he met the love of his life while on tour with his up-and-coming rock band. They fizzled out and he has been forced to play hits from the 80s and 90s at weddings, while continuing to write his own songs. One night after a gig, he strikes up a friendship with Danny (played by Nick Jonas), who was once part of a boy-band, but has fallen on hard times. He is trying like hell to kickstart a solo career, but no one will take him seriously. Rick and Danny bond over music (and several drinks) into the wee hours of the morning while sharing bits and pieces of songs each of them wrote. They part ways and Rick goes back to his life as a husband and father, continuing to write songs in the hopes he’ll someday catch a big break.
Flash forward six months and Rick hears a song that sounds kind of familiar. When he looks it up online, he realizes that Danny took one of his songs and turned it into a massive hit. Unfortunately, no one else remembers it – his wife, daughter, bandmates, friends – there’s no memory of the tune, except in Rick’s head. And he can’t find a demo of the recording anywhere. He is the only one convinced that he actually wrote this worldwide hit, so he sets out to find Danny and get him to admit it.
I was a little apprehensive going into this movie because I have a hit or miss relationship with Paul Rudd’s work. I couldn’t quite put my finger on it until I read a review of Power Ballad that noted how he was great in this role because he wasn’t playing the smarmy asshole he usually portrays. And I completely agree. He is perfectly charming in this performance and you find yourself rooting for him against all the odds he is facing. Power Ballad has a few plot points that strain credulity, but if you remind yourself that you are watching a movie and just go with it, they won’t bother you. And I have to say, call me a softie, but I absolutely loved the ending of this film. Power Ballad is now available to rent on demand.
The Ultimate Dad Movie – Pressure
When the logline for Pressure was announced, the running joke among movie fans was, “So, I guess we’ve exhausted every possible World War II story, huh?” And it’s hard to argue with that feeling since this is about weathermen arguing which of their forecasts is more accurate. No, I’m not kidding, but I am being glib, because it’s important to note that the forecasts at the center of this film will determine the success or failure of the Allied mission to storm the beaches at Normandy on D-Day.
Our main character is James Stagg, a well-renowned meteorologist from Scotland, who is brought into the D-Day planning by Dwight Eisenhower to help Ike’s other meteorologist, Irving Krick. Stagg (played by Andrew Scott) is meticulous and relies heavily on statistics, using the latest technology available, which is still rudimentary compared to what meteorologists use today. Krick (Chris Messina) is more of a cowboy at his job, relying on historical patterns and less on what the latest readings tell him. Naturally, we have conflicting opinions about the weather on June 5th, 1944, the original day of the invasion. It may seem silly to worry about the weather, but the forecasted storms (particularly the strong wind, cloud cover, and waves) could jeopardize the effectiveness of the mission if they occur. So, it’s kind of important.
All kidding aside, Pressure is actually pretty good, albeit the most “Dad Movie” one could draw up. I’m not a WWII history buff, nor am I into the weather patterns of Europe, but I found it quite entertaining. And that’s despite two minor issues. The first is the obvious one. There is no surprise as to when the attack will happen. We know it’s going to be June 6th, so the interest is in how the team arrived at that decision.
The second issue is the performance by Brendan Fraser, who is terribly miscast as Eisenhower. He plays the role in such an overly dramatic fashion that is very distracting most of the time he is on screen. I’m guessing that ever since he won the Oscar for his melodramatic performance in The Whale, he thinks that’s the only way to act. How bad is his performance? I saw the trailer for Pressure many times over the last few months (hey, what can I say, I go to the movies a lot) and there was one particular line reading from Fraser that is laughably bad. While sitting in the theater watching the film, every time he appeared on screen, I was waiting for him to deliver the line. And it never happened. I guess in the final edit, director Anthony Maras thought even that scene was too much ham-fisted acting from Fraser. Putting those minor quibbles aside, this is a quality drama for adults that we rarely get anymore and is worth checking out. Pressure is now available to rent on demand.
See These Instead – Girls Like Girls and Carolina Caroline
When I originally planned out this month’s blog, I was going to write about Supergirl, which is in theaters this weekend. Alas, I saw it today and just don’t feel inspired to write about it. The film is quite dull and, despite some charm from Milly Alcock in the lead role, it’s yet another forgettable entry in a genre that is close to crisis mode, to say the least.
Instead of wasting any more words bashing the latest superhero disappointment, I’d rather share my thoughts on two excellent smaller movies that feature impressive performances from talented actresses. First up is Girls Like Girls, a coming-of-age drama written and directed by Hayley Kiyoko in her filmmaking debut. The idea for the movie actually originated with the song Girls Like Girls that Kiyoko released in 2015, which inspired her to write a novel of the same name in 2023. That novel is the basis for the film, which is the story of a young woman dealing with substantial changes in her life.
Maya da Costa stars as Coley, who just moved to a new town to live with her father, who she barely knows. He walked out on Coley and her mom years ago and is now trying to figure out how to be her dad following the death of Coley’s mom. She struggles to fit in at school, but meets a group that invites her into their social circle. She instantly bonds with Sonya (Myra Molloy), and their feelings grow deeper as they become closer. The two girls struggle with what they are feeling, particularly Sonya, who has a boyfriend.
Now, I recognize that I am probably not the target audience for a coming-of-age drama about two teenage girls falling in love. But I’m glad I decided to see Girls Like Girls, because I thought it was a beautiful story and Kiyoko shows a lot of promise as a writer and director. The screenplay does include some cliches and you can sense some of the plot points coming as the story unfolds. But that doesn’t take away from the talent on screen, particularly da Costa, who is excellent in her acting debut. If you decide to check this one out, be sure to watch through the closing credits and you will be rewarded. Girls Like Girls is now playing in theaters and should be available to rent on demand in July.
Next up is a crime-thriller-romance starring one of our more talented actresses who should be more of a household name. Samara Weaving is probably best known for the terrific 2019 horror-thriller Ready or Not. Earlier this year she starred in the sequel to that film, which is decent, but not as good as the original. Now she is the lead in Carolina Caroline, playing a woman who falls in love with a con man, and quickly learns the tricks of the trade as they set out on a crime spree. Their misdeeds start out small, like tricking cashiers into giving them more change than they should be getting, but quickly escalate to more severe crimes, like robbing banks.
Weaving is terrific in this role as someone who is trying to find purpose in her life. She was abandoned as a child by her mother, raised by her father, and currently works a dead-end job at a gas station. When she falls for Oliver (Kyle Gallner), she suddenly has something to get excited about, even though their actions are illegal. Director Adam Rehmeier does a nice job in telling this story, with a good combination of action and romance as we see the couple fall in love. At times, you can feel the influence of Bonnie & Clyde in Carolina Caroline, especially in the bank heists, but Rehmeier keeps the story grounded. I kept waiting for some big surprise twist at the end of the movie (typical for these types of stories), but was pleasantly surprised that it didn’t appear, because I don’t think it was earned. This is just a story about two people who made some really bad decisions, albeit with someone they love dearly. Carolina Caroline is now available to rent on demand. And if you missed Rehmeier’s last film, 2024’s terrific teenage comedy Snack Shack, you can find that one on demand as well.
Come for the Laughs, Bring the Tissues – Toy Story 5
Let’s get one thing out of the way. Animated films are not just for kids. Sure, some of them are clearly aimed at children and there’s a reason I won’t see them. But there are plenty of animated pictures that work for both adults and kids, especially the Pixar catalogue. And the crown jewel of the Pixar world is Toy Story, the film that started it all back in 1995. That movie is a five-star masterpiece and we’ve seen some terrific sequels since then, particularly the third installment, which one could argue is even better than the original. Now the gang is all back for Toy Story 5, which I had the pleasure of seeing earlier this month. As the credits rolled, I asked myself one simple question – How do they keep doing it?
This time, our story is focused on Jessie, the cowgirl introduced in the second film, and voiced by Joan Cusack. Don’t worry – Woody and Buzz are featured prominently throughout this story. Jessie is the leader of the toys owned by Bonnie, who you might recall inherited all of Andy’s toys at the end of the third movie. If you don’t remember, it’s probably because you were weeping like this guy as that tearjerker ended. Bonnie is having a hard time making friends, so her parents decide to buy her a tablet (Lili Pad, voiced by Greta Lee) to help her connect with other kids in her school. As expected, Bonnie becomes mesmerized by her new toy and spends all of her waking hours staring at her tablet and ignoring her old toys. Naturally, they freak out.
It’s been seven years since the last Toy Story movie (which I think is probably my least favorite) and one may ask themselves if Disney needs to keep making them. That was definitely the case after the third one put a cap on Andy’s story and after finding the fourth one just “ok” I went into this one with some trepidation. Now, I do think that placing technology, and people’s obsessions with screens, at the center of the story was a brilliant choice. The film covers not only this aspect of our lives, but the difficulty children have connecting with each other to make new friends. For instance, there are several scenes where the toys observe people just staring at their screens ignoring the other people around them. In fact, one of my favorite sequences in the film was when the toys, who usually lie on the ground when there are people around, just stormed through a house unnoticed by everyone because they were occupied with their devices.
Another feature of the Toy Story movies is the continuous introduction of new characters and famous voice actors. The highlight this time was Conan O’Brien as a toilet-training electronic toy. His performance sounding like a drunk stumbling out of a bar when the toy had low batteries was hysterical. Woody (Tom Hanks) and Buzz (Tim Allen) are quite funny as they help various members of the toy community escape dangers and reunite after being separated, which feels a little tired after seeing this trope play out in every movie. But with beautiful animation, plenty of funny sequences and inside jokes, and some heartfelt moments (one in particular really got me), Toy Story 5 is a worthy addition to the franchise. Oh yeah, Taylor Swift wrote and sang the theme song, and it’s a banger. If you see the movie, be sure to stay through the credits. Toy Story 5 is now playing in theaters.
Total Cinema, Baby – Disclosure Day
A few months ago, I shared my 2026 movie preview and there were three films that stood out as my most anticipated titles of the year. In three short weeks, we will see Christopher Nolan’s The Odyssey, which looks incredible based on the previews. Later this year (in mid-December), we will have the privilege of seeing the conclusion to Denis Villenueve’s Dune trilogy with Dune: Part Three. And then there is the return of one of the greatest filmmakers in the history of the medium. Two weeks ago, I had the pleasure of sitting down in my local IMAX theater for a screening of Disclosure Day, Steven Spielberg’s new science-fiction thriller that is one of the must-see films of the year.
Emily Blunt, in the best performance of her career, and Josh O’Connor are the leads in this story that is part government conspiracy thriller and part contemplative story about the meaning of humanity, who we are as a society, and the juxtaposition of science and religion. Oh yeah, there are aliens. But don’t worry, this is Spielberg, not Ridley Scott. There are no chest-bursters in Disclosure Day.
Daniel Kellner (O’Connor) is an employee of a secret technology company that has been working with the government to conceal the existence of aliens for over 70 years. He steals the evidence of the cover-up and sets out to expose the truth to the entire planet at the same time on the titular Disclosure Day. Daniel and his girlfriend Jane (Eve Hewson) are being chased by the henchmen directed by his company’s leader (Colin Firth, in a scene-chewing role), and barely stay one step ahead of the bad guys. They are trying to meet Hugo (Colman Domingo), Daniel’s former colleague who leads a team that will help him expose the truth.
And then there’s Margaret (Blunt), a Kansas City weatherwoman who has a strange interaction with a cardinal before leaving for work one morning. She suddenly finds herself with extraordinary mental powers, including knowing multiple languages and the ability to read people’s minds. She doesn’t understand what is happening to her, but feels a calling to find Daniel and help him, even though she doesn’t know anything about him or his mission.
Now that right there, is a terrific hook for the movie. I found myself all in as soon as the plot started to unfold. I was riveted to the screen, mostly because Spielberg continues to do God-like shit with the camera. One scene in particular where Daniel is tracked to his safe house on a farm had me smiling with glee in the theater. Now, while I love how the camera moves throughout the film, I was frequently distracted by the lens flares from cinematographer Janusz Kamiński, who has shot almost every one of Spielberg’s films since Schindler’s List. I guess that’s just the style they were going for.
Like any great summer blockbuster, Disclosure Day features exciting chase sequences, some cool uses of the alien technology the government has discovered, terrific special effects (despite some janky CGI animals – there’s a good reason for it, but it’s still distracting), another brilliant John Williams score, and a story that I found very compelling. What would it mean to the 8 billion people on Earth if they all suddenly found out that aliens have been among us for 70 years? What if they are more advanced than the human race? Would it change how we feel about the existence of God?
But there is one other aspect of Disclosure Day that blew me away – the performance of Emily Blunt is absolutely incredible. She plays Margaret in a range that is hard to believe, portraying the character demonstrating her newfound abilities, coupled with her disbelief at what is happening to her, and a terrifying feeling that there is something about her past she can’t quite remember. If there is any justice early next year, she will receive at least a nomination (or even a win) for Best Actress at the Oscars. O’Connor, who is one of my favorite actors working today, is also very good in the film. I’ve read some reviews that criticized his character as underwritten, which I guess I understand, because every time Blunt was not on screen, I wanted to go back to her character.
Now, is Disclosure Day perfect? No. In fact, hardly any movie is free from criticism. The story is a little wobbly at times, but I told myself “This is a summer blockbuster – just go with it.” I’ve read a lot of negative reviews indicating that Spielberg did this much better with Close Encounters and E.T. No Shit! Those are five star masterpieces. It’s impossible to compare ANY movie to those films. And no, Disclosure Day is not a proper sequel to either of those pictures, although you can feel echoes of them (especially Close Encounters) as you watch Spielberg’s latest. You can also feel the energy of Minority Report and War of the Worlds. Now, that’s not surprising, nor is it a crime. Jesus, look at Scorsese’s filmography and how many times he repeats the same character archetypes and motifs. I’ve also read criticisms of Disclosure Day that our society is way too cynical now for a plotline about a worldwide event bringing people together to be believable. God forbid, a director makes a movie with some hope in it. Remember when we thought for a minute that COVID would bring the world together?
As the reactions have poured in over the last few weeks since Disclosure Day went wide, I find myself thinking about the film and the reactions to it more and more. Part of me feels like moviegoers hold Spielberg to an impossible standard given his incredible filmography, which is creating the negative reviews. But diehard movie fans who grew up with Spielberg’s work (raises hand) will excuse any minor faults with his films, so maybe that’s skewing reviews higher. I think (or at least hope) that I land somewhere in the middle. I had his last two pictures (The Fabelmans and West Side Story) among my top five in each of those years. But I can also admit when he makes a clunker (The Terminal, 1941) and I am not a sycophant for everything he does (I actually think Indiana Jones and the Temple of Doom stinks.) I will definitely watch Disclosure Day again soon as I want to re-examine if there are aspects of the film I need to rethink, but more importantly, it’s a really fun time at the theater. Disclosure Day is now playing in theaters.
That’s all for this week. I’ll be back next week for part one of my look at the career of Matt Damon, ahead of his starring role in Christopher Nolan’s The Odyssey, coming July 17th. Thanks for reading and if you would like to be notified about future posts, you can subscribe below.