Bigg County Restorations is a zany new pilot from comedians Joe Bell and Mikaela Watkins. In a spot-on parody of History Channel shows like American Restoration and Pawn Stars, Paul Bigg (John Jezior) works to restore kitschy decor for celebrities while his good-for-nothing adult children, Britney (Mikaela Watkins) and Junior (Joe Bell) go on wacky adventures while slacking off on the menial tasks they’ve been assigned. In the pilot, Britney and Mikaela’s day goes off the rails pretty fast.

Is God Is tells a harrowing tale of retribution, sisterhood, and gender based violence. Far too eerie and clever to be an ordinary slasher, but too gory and merciless to be an ordinary thriller, Is God Is will appeal to the highbrow horror lover with generational trauma anywhere.

The Gates, John Burr’s new thriller film, is a disturbingly realistic portrayal of three Black twenty-somethings - Derek (Mason Gooding), Kevin (Algee Smith), and Tyon (Keith Powers), as they accidentally take a wrong turn into a gated community that’s more like a modern-day sundown town. The three friends witness a variety of crimes in their new surroundings, including an attempted homicide and an attempted rape. As they attempt to alert the authorities and do the right thing, they are thwarted at every turn by the worst horror stories of American conservatism - racist white suburbanites, reckless gun violence, corrupt police, religious mania, and a megalomaniacal pastor. 

Netflix’s new comedy drama, Don’t Say Good Luck, is a heartwarming tearjerker as well as a love letter to the transformative power of being a theater kid. Directed by Julia Hart, Don’t Say Good Luck follows Sophie (Sunny Sandler), a theater kid who finally gets the lead role in her school’s production of Waitress - just as she finds out her mom Elizabeth (Melanie Lynskey) is dying of cancer. While the singing is by no means spectacular and Sandler’s acting is stiff, the film is grounded in the moving performance of Lynskey as a mother who wants nothing more than for her daughter to achieve her dreams, even if she can’t be there to see them.

In Amazon’s new shark flick, The Devil’s Mouth, terrible tourists finally get their comeuppance while two estranged best friends must overcome their petty squabbles to survive as the rest of their party gets chomped one by one. While it’s by no means an Oscar winner, The Devil’s Mouth is good old fashioned shark week carnage with a tourist critical twist, perfect with popcorn, a friend, and a healthy does of schadenfreude. 

Netflix’s recent "Enola Holmes 3" is a disappointing and confusing entry in the stellar "Enola Holmes" franchise.

Netflix’s new rom-com, Voicemails for Isabelle (dir. Leah McKendrick), isn’t just heartwarming, funny, and an achievement in female directing - it’s also an instant classic. Following 20-something aspiring baker Jill (Zoey Deutch), Voicemails for Isabelle tells a story of grief, self-discovery, and fateful connections. Ever since her beloved sister Izzy’s (Ciara Bravo) death, Jill has been leaving her hilarious, extremely TMI voicemails about her chaotic love life and miserable day job as a prep cook. Little does she know that a handsome and unsatisfied real estate agent in her hometown has inherited the number and practically fallen in love with her by listening to her stories. 

Netflix’s new mystery thriller, The Marked Woman (released originally as La Desconocida), is confusing. More critically, though, it commits the worst mistake a movie can make: it’s boring. From Spanish director Gabe Ibáñez, the film squanders its premise at every turn, fills the story with unlikeable characters, and lacks emotional payoff.

Rare in the days of franchise sequels and indie horror films that dominate the screen in 2026, Netflix’s latest original release, Remarkably Bright Creatures, is a feel-good family movie that leaves nothing to be desired except tissues. Starring Sally Field and Lewis Pullman as two cleaners at a small-town aquarium, Remarkably Bright Creatures reminds viewers that humans are social animals whose strength comes not from our intelligence or our opposable thumbs, but from each other.

Netflix's new thriller Apex, starring Charlize Theron, puts a twist on survival horror. Despite its setting in the beautiful- yet-dangerous Australian wilderness, Apex is not a movie about man vs. nature. Instead, it’s woman vs. man. While checking out the title card and its unpretentious Netflix release might lead viewers to believe Apex is just another celebrity project churned out of the streaming machine, Apex - whether by luck or by intention - is a consistently harrowing film about the reality of being a woman in a public space. 

I write for a diversity-focused film review blog, so I’ll be honest: I really wanted to like Pretty Lethal. Starring Maddie Ziegler, Lana Condor, Iris Apatow, Avantika, and Millicent Simmonds, Amazon Prime’s new thriller seemed like it would be a girl power movie about dancers with a horror action twist. Sort of a Suspiria for teens. But with shallow and unlikeable characters, a confusing plot, an overreliance on violence, and cringey dialogue, any fun the movie started out with was quickly lost. What was left was a faint echo of greater horror movies about dancers made before. 

The Bluff unravels its mystery slowly, opening on the capture of a ship captain named Bodden (Ismael Cruz Córdova) and the swift execution of his entire crew. Then, viewers are treated to a tranquil British settlement in the Cayman Islands in the 1850s, where a mother bakes a coconut birthday cake for her son in a house suspiciously rigged with makeshift tripwires and burglar alarms. As it turns out, that mother is Priyanka Chopra’s quick witted and resourceful ex-pirate Mrs. Ercell Bodden, and her husband’s captors are on the way to the island to hunt her down for abandoning them and stealing their loot. The pirates of the Libertas land on the beaches of Cayman Brac, and the scenes that follow show a Viking-esque slaughter of half the island.