Earlier this year, Gosling returned with Project Hail Mary, the year’s first beloved movie. It was one of those films that seemed to inspire immediate consensus, with audiences coming out of it talking about how heartwarming and unexpectedly special it was. I was so taken with both the film and Gosling’s performance that I even made an IG reel arguing that he might be our best working actor.

You’ll notice I distinctly noted that part of what makes Gosling so interesting is that he has largely avoided IP up until now. Drive, The Place Beyond the Pines, Blue Valentine, The Nice Guys, First Man, La La Land etc etc, all make for a pretty impressive and varied body of work. This kinda roster has also earnt him 3 Oscar nominations, and made him one of the most respected actors in Hollywood. Which is why his upcoming slate has completely thrown me off, and depressed me a little tbh.

To put my dread into context, a few months after Project Hail Mary, it was announced that Gosling would be joining the MCU as Ghost Rider, a move that I found a little confounding. Not necessarily because I think Ryan Gosling as Ghost Rider is a bad idea, but because he had already signed on to Star Wars: Starfighter, meaning his next two major projects, following what will probably be his fourth Oscar-nominated role in Project Hail Mary, are both major IP films.

And not just any IP either. The MCU and Star Wars are both franchises that are currently in extreme flux. Neither is at the height of its popularity, and both seem to be entering a period where every new project comes with significantly more scrutiny than it once did.

But just when I thought it couldn’t get any weirder, fastforward to this past week, and it’s been reported he’s signed onto make a BAM BAM movie.

Now Gosling has certainly earned enough goodwill from me that I am willing to trust him, but I do wonder when that trust is gonna run out, and I just wanted more for him as a movie star and actor. This isn’t the traditional route an actor of his calibre would typically take, and I hate the fact that he seems to be gobbled up by the IP (garbage) trap.

Obviously Ryan Gosling should do whatever he wants with his career. He has more than earned the right to choose the projects that interest him, whether those projects are prestige dramas, huge blockbusters, superhero movies or, even weird spinoff films in the currently non existent Flintstones universe. But that won’t stop me from holding a microscope up to his choices, and analysing them against the Hollywood greats. Because that’s what Gosling COULD BE.

At every step this year, Ryan Gosling has kept me guessing. Now maybe Ghost Rider will be brilliant, maybe Avengers Doomsday will revitalise the MCU again and this move won’t feel so weird. Maybe Star Wars: Starfighter will give him one of the best roles of his career, and that Star Wars fandom won’t be toxic for once. But from where I’m standing it’s not gonna happen like that, and we’re gonna be scratching our heads.

In the space of a few months I’ve gone from thinking he’s our best working actor to being seriously worried about wtf is going to happen going forward. He’ll always be a movie star, but is he gonna deliver on the grateness I know he has inside of him?? Time will tell…

Matt Johnson has become one of my favourite filmmakers (I’m actually lowkey obsessed with him, have you heard the man talk??) So of course I made the trip to the cinema to see his new film Tony, despite knowing next to nothing about Anthony Bourdain. What I found most interesting about Tony is that it doesn't really feel like a traditional biopic at all. It takes this one period of Bourdain's life and turns it into something closer to a coming-of-age story, following a young man who doesn't know himself or what he wants, while being pulled in different directions by two very different mentors.

So after watching Tony, I was obviously craving more of Johnson’s work, so I decided to rewatch BlackBerry. Initially, I thought this might be the best biopic of the decade, outside of my beloved Oppenheimer, of course. But it also got me thinking about just how many biopics we’ve had this decade. A LOT.

We’ve had a few great ones, but for the most part they’ve been absolute trash (I’m looking at you Michael). I originally wanted to do a top 10 biopics of the decade, but I couldn’t pull together 10 I genuinely loved, and five felt too small, so here we are with six. Maybe I’m irrationally picky, but some of the big heavy hitters just didn’t work for me, so here’s my 6 favourite biopics of the 2020’s:

6. The Iron Claw (2023, Sean Durkin)

The true story of the inseparable Von Erich brothers, who made history in the intensely competitive world of professional wrestling in the early 1980s.

I was shocked by how much I loved this because I literally hate sports, so for a sports movie to break through with me, it has to transcend the genre. Now there’s a pretty common pattern throughout this list with so many of these films containing a performance that elevates everything around it, and Zac Efron gives one of the best performances of the decade here. As a Millennial I’ve always had a soft spot for Efron, but I didn’t know he had this raw of a performance in him. I’ve also never forgiven A24 for not prioritising this during awards season, Efron should’ve been Oscar nominated.

It’s also one of the saddest films we’ve had in a while. A true-life American tragedy that could have so easily fallen into cliché, but instead feels remarkably subtle for a film of this nature. It really captures the challenges of a male-dominated family linked by toxic masculinity and forced emotional suppression, and the tragedy that unfolds because of it.

5. Better Man (2024, Michael Gracey)

A singular profile of pop superstar Robbie Williams, chronicling his meteoric rise, dramatic fall and remarkable resurgence.

Weirdly, this is one of the most unique but also one of the most generic films on the list. Unique because they decided to stand out by making the lead character a CGI monkey, generic because underneath that it’s still very much a cradle to grave biopic 101 story.

I think what proves this is a great biopic to me is that I actively disliked Robbie Williams before I saw this movie. Afterwards, I not only loved him, I found everything I previously hated about him weirdly endearing. I have no idea what magic they put in here, but I’ve never done a 180 like that on some EVER. It's really emotional, to the point that I cried several times, has a bunch of show stopping musical numbers and is just a great time. I wish this one was a little more respected.

4. The Apprentice (2024, Ali Abbasi)

A young Donald Trump takes over his father's real estate business in 1970s and '80s New York, forming a relationship with the infamous lawyer Roy Cohn, who helps mould him into the figure he would eventually become.

There was just no way I could leave this off the list. I know people were hesitant to watch it because it’s about Trump, but I PROMISE you, this isn’t shedding him in any sort of positive light. It’s realistic, raw and pretty brutal, while still being incredibly entertaining. It also contains my second favourite performance of the decade from Sebastian Stan (first favourite appears later on this list).

The film outlines Trump’s rise to power and the critical role Roy Cohn played in moulding the cold-blooded narcissist he would eventually become. It really is a villain origin story, except unfortunately it’s about a real person. The pacing is fast, the performances are incredible and, for me, this remains one of the best films of the decade.

3. Tick, Tick... Boom! (2021, Lin-Manuel Miranda)

On the brink of turning 30, a promising theatre composer navigates love, friendship and the pressure to create something great before time runs out.

It’s hard to understate what an amazing performance this was from Andrew Garfield. This should have been his Oscar, and it hurts even more he lost to Will Smith. I’ve always found this one so inspiring as a creative because, at its core, it’s about the idea that you just have to keep going. If something doesn’t hit, maybe the next one will.

The film tells the story of making something from nothing, with songs that perfectly capture the pressure of wanting to create something great while feeling like time is running out.

2. BlackBerry (2023, Matt Johnson)

The story of the meteoric rise and catastrophic demise of the world's first smartphone.

I said this was number 2 and I meant it!! I’m a massive Matt Johnson fan, but I’m not giving it special treatment here, it’s just a banger of a film.

BlackBerry feels like it belongs in conversation with The Social Network. Both films are fascinated by the machinery of success (particularly in the tech world), what it takes to build something revolutionary, the personalities required to get it off the ground and the often brutal cost of trying to stay on top.

But where Fincher’s film is cool and meticulously controlled, Matt Johnson’s is chaotic, frantic and constantly threatening to spin off the rails. That difference is exactly what makes BlackBerry SOOOO special. It captures the absurdity of this world with an energy that feels completely its own, turning corporate boardrooms and technological innovation into something scrappy, hilarious and unexpectedly exhilarating.

1. Oppenheimer (2023, Christopher Nolan)

A dramatization of the life story of J. Robert Oppenheimer, the physicist who played a major role in the development of the atomic bomb.

I mean, what can I say that hasn’t already been said? This is my favourite film of the decade, maybe of all time. What Nolan managed to capture here is something so unique. He somehow made a movie about men sitting around rooms talking about science feel like a high-speed action movie.

For me, Cillian Murphy gives the best performance I’ve ever seen. The entire ensemble is perfection, the structure is incredible and I just don’t think anything will top Nolan’s masterpiece for me this decade.

So there you have it, my very subjective and probably controversial ranking of the best biopics of the 2020s. Maybe I’m irrationally picky, but for me, the best biopics are the ones that find a way to break out of the formula and actually give us something beyond a famous person doing the greatest hits of their own life.

So naturally, here I am with Part 2.

Am I partly making this list so I can send it to anyone I see complaining about Anne Hathaway and Zendaya being “in every movie”? Maybe. But guys, this is a good problem to have, dammit. Same rules as last time: to make the list, you need to have at least three films releasing in 2026. Not all of these films are out yet, but everything included here has been confirmed for release this year.

Lets go:

Sandra Hüller

• Rose

• Project Hail Mary

• Fatherland

• Digger

The biggest omission from my last list, and frankly, one I cannot believe I missed.

With this lineup, there’s a very real chance Sandra Hüller ends up with another Oscar nomination this year. The question is: for which movie?

Between Rose, Fatherland, Project Hail Mary and Digger, she has managed to put together one of the most interesting 2026 slates of any actor working today.

Olivia Wilde

• The Invite

• I Want Your Sex

• Behemoth

Olivia Wilde is easily my MVP of this list (and probably this year).

She has had such an interesting comeback, both in front of and behind the camera (she SMASHED the door out of directors jail). Between starring in The Invite, which I think could do some serious business once awards season rolls around, I Want Your Sex, which is the perfect role for her, mixing her sexy campy capabilities, and Behemoth from Tony Gilroy, which is being positioned as a major Oscar player, she has a seriously stacked year.

And maybe a hot take but screw it: I think Olivia Wilde is making the Best Director lineup for The Invite.

Penélope Cruz

• The Invite

• La Bola Negra

• The Bride

• Bunker

Penélope Cruz has had a sneaky great year.

Firstly caan I please take a moment to praise her for being in two female-directed films this year!!! So many actors talk about wanting to support women in the industry, but I think it’s worth paying attention when people actually put that into practice by choosing to actually work with female filmmakers (Nicole Kidman is also great at this.)

Cruz is also another actor who is being heavily talked about for awards this year. My money would currently be on The Invite for a Supporting Actress nomination, given that her role in La Bola Negra is much smaller.

Paul Rudd

• Power Ballad

• The Statement

• Avengers: Doomsday

You’re going to see this a little bit throughout this list, with some actors making the cut partly because they’re appearing in a giant franchise movie. But it still counts.

Power Ballad is currently my most underrated movie of the year, and The Statement, from Tom McCarthy, came seemingly out of nowhere before recently being announced as a New York Film Festival premiere.

So... do I dare dream that we could see Paul Rudd on the awards circuit this year?

Olivia Colman

• The Fox

• Wicker

• Elsinor

OK, look. The Fox is a voice role, but because it’s an Australian film I wanted to let it slide. Also, any excuse to post a photo of Wicker is a good enough excuse for me (most unhinged movie of the year incoming??).

Seth Rogen

• The Invite

• Tangles

• Babies

• The Wrong Girls

Truthfully, I thought Seth Rogen had been in even more things this year. This man is always working.

His output continues to be arguably some of the best quality of almost anyone working today. He has somehow managed to build a career where he can bounce between comedy, animation, drama, producing and prestige projects without it ever feeling like he’s completely disappeared from any of them.

Pedro Pascal

• The Mandalorian & Grogu

• Behemoth

• Avengers: Doomsday

This is kind of exactly what I love to see from actors. Give me a nice mix of huge commercial projects and interesting prestige films. Pedro Pascal gets to be in Star Wars and Avengers while also starring in something like Tony Gilroy’s Behemoth.

Ebon Moss-Bachrach

• The Man I Love

• Avengers: Doomsday

• A Long Winter

He was also in The Bear, so my guy has been BOOKED AND BUSY.

Florence Pugh

• Spider-Man: Brand New Day

• Avengers: Doomsday

• Dune: Part Three

Loooook, I do wish there was a non-IP film in here. Her IMDb is looking pretty promising for some more variety next year though, so I’ll reserve judgement for now.

Lewis Pullman

• Wishful Thinking

• Remarkably Bright Creatures

• Avengers: Doomsday

He’s one of those actors who feels like he’s been steadily building toward becoming a much bigger star, and everything he’s been attached to has been so well received.

Jason Momoa

• Supergirl

• The Wrecking Crew

• Street Fighter

• Dune: Part Three

Big action movies, enormous franchises, fantasy, sci-fi, swords, explosions, Jason Momoa being Jason Momoa... I always have so much fun watching him show up in anything.

And there you have it: Part 2 of the actors absolutely dominating 2026.
Checkout part 1 for the obvious contenders like Robert Pattinson and Zendaya, and some actors from previous years that had INSANE years.

Have I missed anyone else??? Let me know in the comments.

The truth is, I’m incredibly grateful to spend my days doing something I genuinely love (and get paid for it)… talking about movies.

For the last seven years, I’ve been heavily involved in movie focused social media. My content ranges from weekly reviews and awards season coverage to industry discussions and general movie commentary. Along the way I’ve been fortunate enough to build an audience of more than 180,000 followers on Instagram, generating roughly 30 million views per month. Beyond Instagram, also I post on Threads, TikTok, YouTube, Substack, and Letterboxd, where I log and review everything I watch.

(Die My Love (2025) Lynne Ramsay)

I see roughly 300 films every year. Around half of those are new releases.

I wouldn’t necessarily call myself a professional critic. Like most people who put their opinions online, I suffer from a healthy amount of imposter syndrome. I regularly wonder whether anyone actually cares what I have to say. But there is one thing I’m confident about: I’m contributing to the conversation around film. Which brings me to my core question, what exactly is a film critic in 2026?

Traditionally, the answer has been fairly straightforward. Critics are people who write for newspapers, magazines, trade publications, and established websites. Their work is published in a format that resembles what criticism has looked like for decades. But the media landscape has fundamentally changed!!!!

Today, millions of people discover films through Instagram, TikTok, YouTube, podcasts, Letterboxd, and newsletters. Discussions about movies don’t begin in newspaper columns anymore. They happen across social platforms, often in real time, involving thousands of people at once.

Yet many of the institutions that define who is and isn’t a critic still operate as though the internet evolved only halfway. I’ve experienced this firsthand. I’ve been rejected by both Rotten Tomatoes and the Critics Choice Association. I’ve had conversations with people within the industry and community who have dismissed social media creators outright, telling me that I lack the credentials to be considered a critic, and I really feel this attitude needs to change.

Because what are credentials in film criticism supposed to measure?
If the goal is expertise, then surely the volume of films watched, reviewed, and discussed matters.

And if the goal is influence, then surely reaching millions of movie fans every month matters????

If the goal is contributing to cultural discourse, then surely fostering daily conversations with thousands of people about cinema matters.

Now I want to make this clear that this isn’t an attack on traditional film criticism. Long-form criticism remains incredibly valuable, and something I’m constantly consuming. Some of my favorite reviewers work in traditional media and thoughtful essays and in depth analysis are an essential part of film culture.

The issue is that many gatekeepers still seem unwilling to acknowledge that criticism can exist elsewhere too.

One of the requirements Rotten Tomatoes lists for independent critics is maintaining a review focused Substack with at least 5,000 followers and regular publication. No disrespect to Substack. I love Substack and I’m actively trying to build mine. But I struggle to understand why 5,000 newsletter subscribers automatically carries more weight than a creator reaching millions of people through other forms of social media. The platform isn’t what makes someone a critic, the work does.

Of course there need to be standards. Not everyone with a social media account should automatically qualify as a critic. Having followers alone shouldn’t be enough. Plenty of creators have large audiences without offering meaningful analysis or contributing to broader conversations about film. But that’s exactly why a case-by-case approach makes more sense than relying on outdated definitions.

The question shouldn’t be whether someone’s work appears in print. The question should be whether they’re consistently engaging with cinema in a thoughtful way and helping further public discussion about the art form.

Film criticism isn’t just about assigning star ratings or declaring whether a movie is good or bad. It’s about creating dialogue. It’s about helping audiences think more deeply about what they’re watching. It’s about engaging with art and encouraging others to do the same. And right now, majority of that dialogue is happening on social media.

The reality is that a huge percentage of modern film culture exists online. It’s where audiences discover movies, debate awards races, share recommendations, and engage with criticism. Whether the industry likes it or not, creators have become an increasingly important part of that ecosystem.

So can we PLEASE stop asking whether social media creators can be critics and started asking why so many organizations are still pretending they aren’t???

Now, I definitely have my issues with Backrooms, but there’s no denying it’s been a huge success. One thing we all seem to agree on is that the film is at its best during the found footage sequences. Every time it leaned into that format, it came alive. I spent most of the runtime wishing it would stop trying to be something else and just commit to being a full-blown found footage nightmare. Alas, that’s not the world we live in.

Found footage has become my personal favourite horror subgenre. When it’s done well, nothing else even comes close. It’s scrappy, immersive, chaotic, and often far scarier than films with ten times the budget. The best entries make you feel less like you’re watching a horror movie and more like you’ve stumbled across something you weren’t supposed to see.

So, thanks to Backrooms reminding me how much I love the genre, here are my five favourite found footage movies.

5. Creep (2014)

PLOT: A young videographer answers an online ad to film the final messages of a dying man, only to discover his client is far stranger than he first appears.

The genius of Creep is how little it relies on traditional horror mechanics. There are no elaborate set pieces, no sprawling mythology, and barely any gore. Instead, it builds tension through pure discomfort.

It’s equal parts hilarious and unsettling. You’re laughing one minute and questioning why you’re laughing the next. The horror comes from spending time with someone who feels fundamentally wrong, and that’s what makes Creep such a uniquely terrifying experience.

4. Unfriended: Dark Web (2018)

PLOT: After finding a laptop left behind at a café, a young man discovers hidden files that drag him and his friends into the darkest corners of the internet.

I’m cheating a little… this is technically a screenlife film rather than found footage, but I’ve always considered them close cousins, and it’s THAT good. The same rules apply. Everything unfolds in real time through a screen, and you’re trapped alongside the characters as things spiral out of control.

What I love about Dark Web is how relentlessly cruel it is. There are no heroes, no easy solutions, and very little hope. You simply watch as a group of ordinary people fall deeper and deeper into a nightmare they don’t understand.

The film taps into one of the most effective horror concepts imaginable: the unknown. Every new discovery raises more questions, every answer makes things worse, and the sense of paranoia builds until it becomes almost unbearable. Bleak, nasty, and incredibly effective.

3. Cloverfield (2008)

PLOT: When a colossal monster attacks New York City, a group of friends attempt to cross Manhattan and rescue one of their own while the city collapses around them.

For most horror fans, their gateway found footage movie was The Blair Witch Project. Mine was Cloverfield.

In fact, I like this movie so much that it’s ruined soooo many movies for me. Nothing has quite matched the exhilaration of watching an unknown terror tear through a city while you’re stuck on the ground with people who have absolutely no idea what’s happening.

This is actually what I wanted Backrooms to be. A group of characters navigating an impossible situation while slowly uncovering the mystery around them. Every piece of lore, every revelation, and every terrifying moment is experienced through the characters’ perspective.

2. REC (2007)

PLOT: A television reporter and her cameraman follow emergency responders into an apartment building, only to find themselves trapped inside as something horrifying begins spreading floor by floor.

If someone asked me to recommend a found footage movie and I could only pick one, there’s a good chance I’d choose REC.

The film’s greatest strength is its simplicity. It doesn’t overcomplicate things. It introduces a terrifying situation, locks the doors, and never lets up. Every scene pushes the story forward, every new revelation escalates the tension, and the pace is absolutely relentless.

What makes REC so effective is how authentic it feels. The confusion, panic, and desperation all feel completely believable. You’re not watching characters make stupid decisions for the sake of the plot. You’re watching ordinary people desperately try to survive a situation they don’t understand.

1. As Above, So Below (2014)

PLOT: A group of explorers venture deep into the Paris Catacombs searching for a legendary treasure, only to discover something far more sinister lurking beneath the city.

I wish someone had pitched it to me like this, because this is my actual dream film. It’s basically National Treasure meets The Da Vinci Code, except everyone accidentally wanders into hell.

What I love most about As Above, So Below is how relentlessly claustrophobic it becomes. The deeper the group travels underground, the more reality begins to unravel around them. The film blends archaeology, mythology, urban legends, psychological horror, and supernatural terror into one anxiety-inducing experience.

Wild, intense, creepy, and completely committed to its insanity, it’s everything I want from a found footage movie.

Honourable Mentions

Hell House LLC (2015)

A group of friends transform an abandoned hotel into a haunted attraction, only to discover the building may already be haunted.

This one absolutely nails atmosphere, and its scary af.

Deadstream (2022)

A disgraced YouTube livestreamer spends a night in a haunted house hoping to revive his online career.

The perfect mix of horror and comedy!

Firstly because the Star Wars fandom has become so unbelievably toxic and divisive that everything gets picked apart to death. And secondly because I went to see the movie, actually had a really good time… and immediately knew the internet was going to act like it was either a masterpiece or a disaster.

So I was pleasantly surprised to see so many people online just… enjoying it.

Not over-analyzing it. Not declaring it the future of cinema. Just treating it like what it is: a fun, straightforward Star Wars adventure. And that alone feels like a win right now.

There was a lot of cautious expectation going in, but the film came out with a reported $165 million global opening weekend on roughly a $165 million production budget. For context, that immediately puts it in a very different conversation to Solo: A Star Wars Story, which had a much larger $275 million budget and struggled to convert its opening into anything like a strong return.

So purely on numbers? This is a solid start. But the more interesting part isn’t really the money. It’s what people actually felt leaving the cinema.

Because what Star Wars has been missing for a while isn’t just box office strength, it’s audience goodwill. It’s the ability to release something without the entire conversation immediately splitting into extremes.

And this one, at least from opening weekend reactions, seems to have avoided that (to an extent).

It’s not trying to reinvent anything. It’s not trying to carry the weight of the entire franchise on its shoulders. It’s just a simple adventure story in the Star Wars universe, and for a lot of people, that’s enough.

Families are showing up. Kids are into it. And the general vibe coming out of theatres is pretty uncomplicated: people had a good time.

Another small but notable metric: it’s currently sitting at around 88% on Rotten Tomatoes, making it one of the better-reviewed Star Wars releases of the Disney era. And considering how much hate this franchise has endured in recent years, is an absolute win.

So is Star Wars “back”?

I don’t think we need to overstate it. One film doesn’t reset a franchise as messy and heavily scrutinized as this one. But for once, the conversation isn’t dominated by frustration, fatigue, or outrage. It’s mostly just people saying they enjoyed a Star Wars movie again.

And that alone is probably the most promising sign the franchise has had in a while.
So yeah… I’ll take it!

At what point do we just accept horror is the best genre working today?

It consistently puts out some of the most original, creative, fun and thought-provoking films every year, and audiences clearly love it. Horror feels like one of the only genres left where filmmakers can still take real swings and get weird with it.

And yes, we are smack bang in the middle of an insane horror month right now, so I get the sentiment. In May alone we’ve had Hokum and Obsession (both excellent), with Passenger this week and Backrooms still to come. But let’s look at last year for a second. We got Sinners, Weapons, Frankenstein, 28 Years Later, The Long Walk etc etc. I’d genuinely put that lineup against almost any year in recent cinema. There’s clearly something happening with horror right now.

It’s always been a reliable box office genre because horror films are cheaper to make and people actually show up for them (shout out to the horror sickos). But beyond that, the genre is finally being embraced critically too, and historically, The Oscars have had an EXTREMEM horror bias for basically their entire existence.

Before this recent horror boom, we’d only had a handful of horror films nominated for Best Picture ever, and even then some were horror in the loosest possible sense (Jaws barely counts, sorry). Acting nominations were also rare.

Now we’re seeing horror performances actually win major awards. Even two years ago, if you told me Michael B. Jordan would win an Oscar for playing a vampire, I would’ve said you’re insane.

So this isn’t me trying to yuck anyone’s yum or dampen the excitement around horror’s “great run.” I’m just happy people are finally paying attention. But horror being good shouldn’t be surprising at this point, it’s been one of the most consistent genres for years.

With that in mind, here are my personal picks for the best horror films of the 2020s so far.

1. Sinners (Ryan Coogler, 2024)

I don’t want to hear anyone say Sinners isn’t a horror movie, it’s vampires.

I genuinely think this isn’t just the best horror movie of the decade, but one of the best of the century.

Sinners is a Southern Gothic horror film about twin brothers who return home only to discover a supernatural force hiding beneath the surface of their community.

It uses horror exactly how it should be used, not just for scares, but to explore power, exploitation, and historical trauma. The vampire mythology feels grounded in real-world violence, which makes it hit harder than a standard genre film.

2. The Substance (Coralie Fargeat, 2024)

Probably the coolest film on the list, the most stylised, and also the most batshit insane.

The Substance is a body horror film about an aging celebrity who uses a black-market drug to create a younger version of herself, with increasingly grotesque consequences as the two identities begin to split and compete for control.

It brutally tears down beauty standards that have plagued women for centuries. A simple premise that takes the universal fear of ageing and irrelevance and turns it into full-on body horror. I felt seen in a way I’ve never felt before while watching this, its brilliant.

3. Nope (Jordan Peele, 2022)

I wish we’d had more Jordan Peele on this list, but my guy hasn't been making films. This is controversially my favourite of his three films, and I think it’s a masterpiece.

Nope is a sci-fi horror film about siblings who try to capture proof of a mysterious presence in the sky above their family ranch, only to realise they are dealing with something far more dangerous and incomprehensible than they expected.

It builds dread through scale and anticipation rather than payoff. It’s about spectacle, obsession, and the horror of looking at something you were never meant to fully understand.

4. Talk to Me (Danny Philippou, Michael Philippou, 2022)

Back to more traditionally structured horror.

This feels like the beginning of the modern creator-led horror boom. Filmmakers who know how to stretch a budget and build something genuinely creative, and we’re seeing more of it now.

Talk to Me is an Australian supernatural horror about a group of teens who discover a way to contact spirits using an embalmed hand, but things spiral when one of them pushes it too far and opens a dangerous connection they can’t control.

It’s great horror because it’s simple, immediate, and properly mean when it needs to be. It takes a modern premise of viral challenge culture mixed with grief and addiction, and turns it into something genuinely disturbing.

5. Weapons (Zach Cregger, 2025)

If there’s one director who feels like the face of horror this decade, it’s Zach Cregger. I’m just glad Weapons was such a smash hit and put him firmly on the map.

Weapons is built around a disturbing central mystery involving a group of missing people and the unsettling chain of events that follow in a seemingly normal community.

It’s smart in structure and almost anthology-like in how it unfolds. It’s the kind of horror that builds dread properly instead of relying on jump scares.

6. Barbarian (Zach Cregger, 2022)

It was only right to give Zach Cregger two spots on this list.

I might be biased because this is my favourite horror movie and one I largely credit with getting me into the genre.

Barbarian is a horror film about a woman who arrives at an Airbnb late at night to find it already occupied, only to discover something far more disturbing hidden beneath the house.

It constantly shifts gears in ways you don’t expect. It starts almost like a rom-com, turns into a tense thriller, and then becomes something much stranger and more unpredictable, all while maintaining a core sense of dread.

7. I Saw the TV Glow (Jane Schoenbrun, 2024)

I’m personally not a fan of this movie, but it absolutely deserves a place on the list.

I Saw the TV Glow is a surreal psychological horror about two teens who bond over a mysterious late-night TV show, only for that shared obsession to warp their sense of reality and identity as they grow older.

It externalises something very internal, dysphoria, repression, and the fear of never becoming who you’re meant to be, and turns it into a dreamlike descent. It’s less about scares and more about atmosphere and identity.

8. Red Rooms (Pascal Plante, 2023)

Maybe I’ll catch some flack for this, but serial killer films are absolutely horror, and this one left me more uneasy than anything else on this list, so thats gotta count for something.

Red Rooms is a psychological thriller horror about a woman who becomes obsessed with a high-profile murder trial and the online subculture surrounding it, slowly blurring the line between observer and participant.

It works as horror because the discomfort comes from obsession, voyeurism, and how fascination with violence becomes consuming. It’s cold, controlled, and deeply unsettling in a way that lingers.

9. The Menu (Mark Mylod, 2022)

Another one that isn’t traditional horror, but absolutely belongs here. In fact, this whole decade feels defined by genre hybrids like this.

The Menu is A dark horror comedy about a group of wealthy guests who travel to an exclusive island restaurant, only to discover the chef has prepared a very different kind of tasting menu for the night.

It’s essentially a social satire disguised as a horror thriller. The tension comes from how controlled and ritualised everything feels, and how quickly that control collapses into something far more sinister.

10. 28 Years Later / The Bone Temple (Danny Boyle/ Nia DaCosta, 2025/2026)

Look, this is kind of a cheat because I’m including both films here, and The Bone Temple is still my number one film of the year.

Genuinely nobody is doing it like Danny Boyle, and the way this franchise consistently pushes the zombie genre forward is exciting in a way most horror just isn’t.

This continuation of the 28 Days Later universe expands into a more mythic, fractured version of the infected apocalypse, moving beyond survival horror into something bigger, stranger, and more culturally distorted.

Together, they feel like a reminder that this franchise isn’t just about fast zombies, but about how humans adapt, distort, and mythologise collapse.

how controlled and ritualised everything feels, and how quickly that control collapses into something far more sinister.

Honourable Mentions:

A few that just missed the list for different reasons. Obsession is too recent to fairly judge against the rest but it absolutely feels like its going to be in the conversation. Nosferatu I just couldn’t make room (and I just don’t really like it), but it’s probably sitting around number 11. Smile 2 feels borderline criminal not to include given how effective it is as a mainstream horror sequel. And Midnight Mass isn’t even a film, but if we’re being honest I’d put it in the top 3 of everything here.

The Odyssey is being rightfully treated like the cinematic event of the lifetime, (or at the very least the year) and Christopher Nolan’s take has already triggered a wave of brutal online discourse. Maybe it is just a vocal minority, but the internet seems to have collectively decided the film is either a disaster or already disappointing (impressive considering it is not even out yet).

And as always, the biggest issue seems to be that it is not “faithful” enough and is not following the source material closely. Everything from casting choices to costumes not being “historically accurate”, to accents etc etc. you name it they’re annoyed.

Earlier this year Emerald Fennell’s Wuthering Heights triggered the exact same backlash, with people declaring it unfaithful and acting like it had committed some kind of cinematic crime against the original novel. But genuinely, why is this still happening when we already have multiple Wuthering Heights adaptations (around 50 if we are counting). God forbid our directors try something even slightly different and not churn out the same movie we’ve seen multiple times before.

Then came Zach Cregger’s Resident Evil trailer, which looked AMAZING, but of course the reaction was once again that it is not faithful enough (honestly at this point I zoned out, but their main complaint seemed to be something to do with freakin’ snow), despite there already being six live-action Resident Evil films, a reboot, and multiple animated versions, all of which are, frankly, not great. But sure, by all means let us keep making the same thing over and over again and hope this time it magically works. At what point is enough enough?

It’s now that I ask, what do people actually want? The entire point of adaptation is interpretation. It is taking something and translating it into a different medium, a different time, a different cultural language. Not preserving it like a museum piece. If you want that please feel free to go and consume the original.

Is it actually such a problem to let directors have a vision and adapt source material in a way that is more interesting? Especially when we already have so many “faithful” versions of the same stories. Can we all please calm down and just let directors cook? Because honestly, some of the greatest films of all time are loose adaptations, and without that approach we would not have these:

Clueless (Emma)

Clueless might be an obvious one, but it absolutely deserves its place here. A modern adaptation of Emma, it takes Austen’s social satire and drops it straight into 1990s Beverly Hills high school culture.

Instead of aristocratic class systems, we get popularity, fashion, and teenage status politics, but the structure is exactly the same. A privileged young woman insists she understands other people’s relationships better than she actually does, only to slowly realise she has been completely wrong the whole time.

And crucially, although it wasn’t the first of its kind, it basically popularized this whole format. After Clueless, modernizing classic literature into teen culture stopped being a one-off idea and became a blueprint for an entire wave of films that followed (She’s the Man, Easy A, 10 Things I Hate About You etc etc).

The Lion King (Hamlet)

Thank God Disney decided to take a chance with this one, otherwise we would not have one of the most beloved animated films of all time. One of Disney’s most successful films, and structurally it is very close to Shakespeare’s Hamlet, following a young prince whose father is murdered by his uncle, who then takes the throne. The core beats are all there: exile, a ghostly return, and a final confrontation with the usurper.

But where Hamlet is defined by hesitation, paranoia, and existential collapse, Disney reworks the same framework into a coming-of-age story about responsibility, identity, and stepping into your role.

West Side Story (Romeo and Juliet)

West Side Story takes Shakespeare’s Romeo and Juliet and relocates it to 1950s New York, where the feud becomes a conflict between two rival gangs.

The Jets and the Sharks replace the Montagues and Capulets, but the emotional core remains untouched. A forbidden romance unfolds inside a world defined by territory, loyalty, and violence, and it ends exactly as it always has to.

Apocalypse Now (Heart of Darkness)

Apocalypse Now is one of the clearest examples of what happens when an adaptation stops trying to be faithful and becomes a full reimagining. Instead of staying in Joseph Conrad’s Heart of Darkness, it relocates the entire story to the Vietnam War, turning a colonial river journey into a surreal descent into modern military collapse.

Its strength lies in how fully it is shaped by its cultural context. Released in the wake of the Vietnam War, it engages directly with a period defined by disillusionment and institutional collapse.

Fire Island (Pride and Prejudice)

You might have expected to see Bridget Jones’s Diary here, but I am going with what I think is the stronger adaptation: Fire Island.

It takes Jane Austen’s Pride and Prejudice and relocates it into contemporary queer party culture, where social hierarchy is shaped by wealth, desirability, and proximity to status within gay social spaces. What changes is the framework, not the structure. The film understands Austen’s original concerns as being about systems of value and exclusion, and simply updates the system rather than the story itself.

Troy (The Iliad)

Don’t think for a second I’d leave Troy off this list now that it has been reclaimed as a masterpiece (thank you Odyssey haters… I guess). Troy strips much of the mythology from Homer’s Iliad and reframes it as grounded political and human conflict.

The gods are removed, and fate is replaced with ambition, power, and mortality. Legendary heroism becomes something far more human, and far more fragile.

Whether you love or hate that choice, it is a clear example of adaptation as reinterpretation rather than pure preservation. It asks what the story becomes when you remove the divine layer entirely.

10 Things I Hate About You (The Taming of the Shrew)

Try as I might to avoid having two high school adaptations on this list, I could not leave this masterpiece out.

10 Things I Hate About You reframes Shakespeare’s The Taming of the Shrew for a modern audience, fundamentally reshaping what its central dynamic means.

Kat Stratford is no longer a character to be “tamed,” but someone resisting social expectation and control. Patrick Verona’s role shifts accordingly, becoming less about manipulation and more about emotional connection and mutual understanding.

It keeps the romantic opposition structure intact, but reinterprets what that opposition actually represents in a contemporary context.

So before anyone starts tearing The Odyssey apart, it is worth remembering that some of the best films ever made are “unfaithful” adaptations. If we demanded strict loyalty to the source material every time, we would not have any of these films.

We would just have the same story, repeated endlessly, forever. I’m begging you, Let directors cook.

Anyway, that’s a separate conversation, but hilariously one thing I’ve noticed through all this chaos is people suddenly saying Troy (2004) is a masterpiece, and that it’s the superior version of The Odyssey and what it “should have been” etc etc.

Now, while comparing those two is frankly ridiculous, I’m choosing to focus on the only positive outcome here: people are finally giving Troy the respect it deserves.

I remember seeing it in cinemas in 2004, loving it with my ENTIRE soul, and then immediately being told it was trash. I spent over two decades defending Troy like my life depended on it so yes, I am absolutely taking a small victory lap right now.

Which got me thinking: what are the other films that went through this exact cycle? Originally dismissed, hated, or just weirdly underestimated… and then, years later, fully embraced as classics.

1. Star Wars Prequels

There has genuinely never been a 180 quite like this.

The Star Wars: Episode I – The Phantom Menace era was basically cultural warfare. Saying people HATED these films is an understatement. If you defended them, you were immediately labelled a bad cinephile. Careers were ruined, the franchise took a hit, and the discourse was beyond toxic.

Fast forward to now: anniversary screenings, packed cinemas, people cheering, and Hayden Christensen being embraced like he never left.

I’d say two major things turned the discourse around. The kids who grew up with them finally got a voice, and the sequel trilogy was so chaotic that people suddenly looked back and went: “wait… these weren’t that bad.”

2. Speed Racer

Speed Racer is the definition of “ahead of its time.”

When it came out, critics and audiences didn’t know what to do with it. It looked too artificial, too loud, and too overwhelming, especially in a period where blockbusters were chasing gritty realism.

But what the Wachowskis actually made was a live-action anime. Hyper-saturated, emotionally sincere, completely unashamed of being maximalist. Now it’s beloved for the exact thing it was criticized for: being completely unhinged in the best possible way.

3. The Thing

You wouldn’t know it today, but The Thing was basically rejected on arrival.

Audiences weren’t ready for it. Coming out the same year as the much more comforting E.T. the Extra-Terrestrial, people walked in expecting something more traditional and walked out confused, disturbed, or just straight-up repelled. The word-of-mouth at the time leaned heavily toward “too bleak,” “too gross,” and “why would I watch that?”

Thankfully over time, that exact discomfort is what people started to love about it. John Carpenter built something suffocating and paranoid, where trust completely collapses and no one feels safe for even a second. And now it’s widely considered horror royalty, being a masterclass in tension, atmosphere, and practical effects that still hold up better than most modern CGI.

4. Marie Antoinette

This went through a very similar reaction cycle to what something like The Odyssey is getting now. People wanted something strictly historical because god forbid we have a fun, stylised, modern interpretation of history instead of a beige textbook retelling. People are SO boring.

Cannes literally booed it. Audiences and critics didn’t know what to make of the modern soundtrack, pastel visuals, or the detached, almost dreamlike tone of Kirsten Dunst’s performance. People expected a traditional historical drama. What they got was something far stranger: a story about isolation inside extreme luxury.

Now it is basically an aesthetic bible, widely considered one of the defining visual films of the century and one of Sofia Coppola’s best works.

5. The Shawshank Redemption

Not sure this one was ever “hated,” but The Shawshank Redemption went from a box office bomb to what is now ranked the number one movie of all time on IMDb.

It came out in one of the most stacked movie years ever and got completely overshadowed by giants like Pulp Fiction and Forrest Gump, and didn’t really make much noise in cinemas at all. But then it slowly took over the world.

TV reruns, word of mouth, rentals, all the things that just do not exist in the same way anymore. It built its reputation outside of theatres entirely. Over time, people connected with its core themes of hope, endurance, and friendship, anchored by Morgan Freeman and Tim Robbins delivering career-defining performances.

Now it sits comfortably in “greatest films ever made” territory like it was always meant to be there.

So maybe the question is not whether films are simply good or bad, but whether we just need more time with them.

What’s interesting about all of this is how unreliable initial reaction really is. A film can come out at exactly the wrong moment, be marketed incorrectly, or simply not match what audiences expect, and that alone is often enough for it to be dismissed. But time has a way of stripping away those expectations. Once the noise around release dies down, people can actually meet the film on its own terms.

So what better way to celebrate than to talk about the unofficial rules of Cannes, and the most likely winning studios slate, NEON, which has won the Palme d’Or the past six years in a row.

NEON’s 2026 Cannes Competition Slate

Over the last six years, the company has built an almost surreal track record of backing the Palme winner at Cannes year after year. And now, heading into this year’s competition, NEON arrives once again with another heavyweight slate, six films in Competition, any of which could realistically win, and by proxy enter the Oscar conversation.

Paper Tiger

Director: James Gray
Two brothers pursue the American Dream but get entangled in a dangerous Russian mafia scheme that tests their bond as betrayal becomes inevitable.

Hope

Director: Na Hong-ji
A mysterious discovery on the outskirts of a remote harbor town triggers a fight for survival against something the residents have never encountered before.

Fjord

Director: Cristian Mungiu
An immigrant Romanian family in Norway comes under judicial scrutiny and faces an investigation that puts their place in society under pressure.

All of a Sudden

Director: Ryusuke Hamaguchi
Two scholars exchange letters about chance and risk, evolving into a deeply personal meditation on mortality, illness, and emotional connection.

Sheep in a Box

Director: Hirokazu Koreeda
In the near future, a married couple introduces a humanoid robot into their home as their son, redefining family, identity, and emotional attachment.

The Unknown

Director: Arthur Harari
A reclusive photographer becomes obsessed with a mysterious woman, following her into an experience that transforms his very sense of self.

The Unwritten Rules of Cannes

There are no official rules governing how the Cannes jury votes, but there’s a code they stick to… most of the time.

1. Repeat Palme winners are rare
It’s not forbidden, but the jury generally avoids awarding the Palme d’Or to the same filmmaker twice. Cannes tends to treat the prize as a way to expand its canon, not repeat it.

2. Awards are usually spread out
The Palme rarely sweeps alongside other major prizes. Cannes juries prefer to distribute recognition across multiple films (eg The Palme winner won’t also get an acting win)

3. Jury President influence matters
The tone of the jury can shift significantly depending on its president, their artistic sensibilities, relationships, and even political leanings can subtly shape outcomes.

4. Politics and timing always matter more than people admit
Cannes is never just about cinema in isolation. It is about the moment a film arrives in the world.

None of these are absolute rules, but they are patterns that matter when reading the festival.

The 2026 Jury

The Cannes jury is different every year, made up of filmmakers, actors, and industry figures from across the world, each bringing their own sensibilities to how the awards are decided.

This year the main Competition jury is led by South Korean director Park Chan-wook as President, marking a major moment for the festival. He’s joined by a mix of international filmmakers, actors, and writers including Demi Moore, Chloé Zhao, Stellan Skarsgård, Ruth Negga, Isaach de Bankolé, Paul Laverty, Laura Wandel, and Diego Céspedes.

So Who’s Winning?

My honest assumption is that NEON has come to play and could very well be winning that Palme d’Or again.

If, by process of elimination, we look at who has won before and is therefore less likely to be rewarded the top prize again, we can immediately narrow NEON’s slate down by two contenders:

Cristian Mungiu — Fjord (Palme d’Or winner for 4 Months, 3 Weeks and 2 Days)

Hirokazu Kore-eda — Sheep in a Box (Palme d’Or winner for Shoplifters)

That still leaves a very strong field, but if there is one film that feels like a standout in terms of momentum potential, my current money is on Na Hong-jin’s Hope.

Na Hong-jin has long been one of the most acclaimed genre filmmakers working today, known for blending visceral tension with emotional weight. While he has had strong festival presence, he has never taken the top prize at Cannes.

And right now, genre cinema, particularly horror-adjacent storytelling, is having a significant cultural moment. Films that operate within fear, mystery, and survival are no longer being treated as peripheral. They are being taken seriously as awards contenders.

If Cannes is ever going to fully embrace that shift, Hope feels like a very plausible entry point.

With the release of The Devil Wears Prada 2 this week, I went looking for other films that capture that same world, only to realize how few actually do. So instead, I started thinking about the films that may not be about fashion but completely understand it.

Sure, there are films like Phantom Thread, Funny Face, Mrs Harris Goes to Paris, House of Gucci, and Prêt-à-Porter. All great in their own right. But none of them really capture that same feeling as The Devil Wears Prada. That distinctly modern, insider look at the fashion industry. The ambition, the hierarchy, the absurdity, the glamour.

Maybe that scarcity is exactly why The Devil Wears Prada became so iconic. For a lot of us, especially millennials, it felt like the only film that truly understood fashion as both an industry and an obsession.

So instead of forcing a list that does not really exist, I started thinking about something else. Films that may not be about fashion, but are undeniably interested in it. Films where costume is not just decoration. It is storytelling. Identity. Power.

A quick caveat. This is not about one standout dress. As much as I love Keira Knightley’s green gown in Atonement or Kate Hudson’s yellow dress in How to Lose a Guy in 10 Days, these are films where fashion is embedded into the DNA of the story.

Here are my favorites. And since I’ve already gone on about how iconic The Devil Wears Prada is, it’s not included here.

Marie Antoinette (2006)
Sofia Coppola is the queen of prioritizing fashion in film, so her take on one of history’s most opulent figures was always going to be magical. The film is a confection of Rococo excess. Panniers, crinolines, corsets, pastels, florals, brocades, lace, ribbons, and wigs that seem to defy gravity.

Milena Canonero’s costumes remain historically grounded but are infused with a dreamy, almost surreal modernity. That balance is what makes the film so compelling. It does not just recreate fashion, it romanticizes it. And importantly, it centers femininity. The women are the spectacle, dressed in layers of beauty and expectation.

Clueless (1995)
Few looks are as instantly recognizable as Cher’s yellow plaid suit. For an entire generation, her digital wardrobe was the actual dream.

What made Clueless so groundbreaking was how it pushed back against the grunge-dominated fashion landscape of the 90s. Cher is polished and couture, Dionne is bold and experimental, and Tai undergoes a full transformation from messy grunge to fashion-forward.

The film did not just showcase clothes; it used them as character development. It sparked a preppy revival, blended high fashion with thrift, and proved that style could be both aspirational and playful.

The Talented Mr. Ripley (1999)
Maybe I’m just a sucker for the Italian Riviera aesthetic, but this is definitely in the conversation. The Talented Mr. Ripley is effortless style. Sun-drenched, languid, and impossibly chic.

The menswear alone is enough to carry it. Relaxed shirting, perfectly cut suits, classic loafers. But the women’s fashion is just as influential. Gwyneth Paltrow’s Marge embodies that undone, holiday ease we are still chasing today, while Cate Blanchett’s Meredith is polished, refined, and slightly intimidating.

Decades later, it all still feels contemporary. That is the mark of truly great costume design.

Barbie (2023)
Only Greta Gerwig could bring Barbie to life and understand just how essential the fashion would be.

The film features hundreds of looks, blending archival Barbie references with modern fashion twists. It is not just replication, it is reinterpretation. Costume becomes narrative. Identity, nostalgia, satire.

And then there was the press tour. Margot Robbie’s real-life wardrobe, recreating iconic Barbie looks, arguably became just as important as the film itself. A rare moment where fashion extended beyond the screen and into culture.

Gentlemen Prefer Blondes (1953)
These costumes are legendary for a reason. They perfectly merge high fashion with showgirl glamour.

Every look is engineered to enhance performance and character. Bold, sparkling, hyper-feminine. They are sensual but controlled, theatrical but precise.

Fashion here is not subtle. It is spectacle, and that is exactly the point.

The Substance (2024)
This might be the most controversial pick, but it is impossible to ignore how stylized this film is.

The costumes mirror its themes. Body horror, ageing, identity. There is heavy 80s influence, bold colour symbolism, and an almost aggressive visual language.

As the film spirals, so does the wardrobe. It becomes a guide for the audience, helping us navigate the chaos.

Moulin Rouge! (2001)
Baz Luhrmann is known for his extravagant films with highly stylized costumes, but Moulin Rouge! is undoubtedly his best.

The wardrobe blends 1890s Belle Époque inspiration with modern, almost anachronistic elements. It is high-kitsch, theatrical, and completely immersive.

The result is a world that feels both historical and entirely imagined. A perfect example of fashion as world-building.

Breakfast at Tiffany’s (1961)
This is the blueprint for timeless style.

The collaboration between Audrey Hepburn and Hubert de Givenchy created an aesthetic that still defines elegance today. Clean silhouettes, minimalism, effortlessness.

It is fashion at its most refined. Aspirational yet wearable. Decades later, it still feels modern.

Poor Things (2023)
The costumes in Poor Things are as strange and beautiful as the film itself.

Blending Victorian fashion with surreal, almost biological elements, the wardrobe evolves alongside Bella Baxter. From childlike silhouettes to liberated, expressive forms, her clothing mirrors her psychological and sexual awakening.

It is fashion as transformation. Uncomfortable, symbolic, and completely immersive.

A Simple Favor (2018)
Say what you want about the film, but Blake Lively’s wardrobe is unforgettable.

Her character’s suits, pinstripes, velvet, sharply tailored, are not just stylish, they are declarative. Masculine tailoring meets feminine confidence in a way that feels powerful, controlled, and slightly dangerous, just like her character.

The fashion operates like a second personality. Polished, secretive, and always one step ahead.

Every few years, a handful of titles become the default answers. People point to Hereditary. The Witch. Train to Busan. The same names come up again and again, and fair enough, they’re all great in their own right. But somehow, The Wailing always seems to sit just outside that conversation. Not forgotten exactly but not talked about with the same urgency either.

This had been sitting on my watchlist for ages, but I’d never actually hit play. With Na Hong-jin heading to the Cannes Film Festival this year with Hope, it felt like the perfect excuse to finally do my homework and watch The Wailing. This isn’t just a great horror film. It’s one of the best films I’ve seen, period.

The plot is simple enough, soon after a stranger arrives in a little village, a mysterious sickness starts spreading. A policeman, drawn into the incident, is forced to solve the mystery in order to save his daughter..

Part of what makes it so hard to pin down is how it refuses to settle into one thing. It starts off feeling almost like a grounded crime story, following a slightly out-of-his-depth policeman trying to make sense of a series of bizarre incidents. There’s even a kind of awkward humor running through those early moments that makes everything feel disarmingly normal. Then, without ever fully announcing it, the film starts to shift.

The deeper it goes, the less stable everything feels. What seemed like a mystery begins to blur into something far more unsettling, and suddenly you’re not just trying to solve what’s happening, you’re trying to understand what you can even trust.

It ends up feeling like a collision between Memories of Murder and The Exorcist. You’ve got that procedural backbone, the sense of a real investigation slowly coming apart, mixed with something much darker and more spiritual and ritualistic creeping in at the edges. And the way those two elements bleed into each other is where the film really comes alive.

What it does so well is make doubt the entire experience.

You’re constantly being pushed in different directions, encouraged to believe one thing, then another. Just when you think you’ve found some clarity, it slips away again. It doesn’t feel like the film is tricking you for the sake of it either. There’s a purpose behind that confusion, and it ties directly into what the film is really about.

At its heart, The Wailing is deeply concerned with faith and doubt. It asks uncomfortable questions and never offers easy answers, leaving you sitting in that uncertainty. What it ultimately suggests is that belief is far more fragile than we like to admit, something that can be shaped, twisted, and even weaponized when it’s pushed far enough.

You end up sitting in the same headspace as the protagonist, where every choice feels uncertain and every answer feels incomplete. That’s what makes it so effective.

A lot of horror films build toward a reveal, something that explains everything or ties it all together. The Wailing goes in the opposite direction. It keeps opening things up, layering uncertainty on top of uncertainty until you’re left questioning not just what happened, but how you interpreted it in the first place.

If anything, that lack of clarity is what makes it stick. It turns the film into something you carry with you afterwards, replaying moments in your head, trying to make sense of it from a different angle.

There’s also a confidence to it that’s hard to ignore. It takes its time. It shifts tone in ways that shouldn’t work on paper. It blends awkward humor, procedural storytelling, and full blown horror without ever losing control of itself. Most films would fall apart trying to balance all of that. This one just leans further into it.

And underneath everything, there’s something much heavier running through it. That tension between belief and uncertainty isn’t just thematic, it’s structural. It shapes how every scene feels, how every character reacts, and how every “answer” is presented but never fully confirmed.

I’ve written about my growing love for horror, and how it’s become my favorite genre. Which is why I’m still a little shocked it took me this long to see The Wailing. It feels like one of those films that exists just outside the usual recommendations, always there but rarely pushed to the front.

With Na Hong-jin heading to the Cannes Film Festival with Hope, and early talk of a possible Palme d’Or run, maybe that’s about to change. If nothing else, it’s as good a reason as any to finally watch The Wailing. It more than lives up to it.

When the review embargo lifted, the internet reacted instantly. The Rotten Tomatoes score debuted at a brutal 27% before climbing to 41%, with critics calling the film “unwatchable” and “spineless.” Then came the audience score, sitting at 96%. Add in a strong A- from CinemaScore, which is based on real moviegoers leaving the theatre, and the divide becomes impossible to ignore.

So what’s actually going on here?

At its core, this is not really about one film. It is about two fundamentally different ideas of what makes a movie “good.”

Critics tend to evaluate films as works of storytelling and craft. They look for thematic depth, narrative risk, and insight, especially in a biopic about someone as complex and controversial as Michael Jackson. For many reviewers, Michael falls short because it avoids those complexities. Instead of examining the man behind the myth, it leans into the legend, presenting the King of Pop as polished and untouchable.

Audiences often want something else entirely, and we saw that with a film like Bohemian Rhapsody. For fans, this film delivers exactly what they came for. The music, the spectacle, the nostalgia. It is a celebration, a greatest hits experience, and by that measure it succeeds.

Neither response is inherently wrong. They are just rooted in different expectations.

That is where the tension begins. Many moviegoers treat critics as consumer guides, people who should tell them whether a film is worth watching. But that expectation does not quite line up with what criticism is meant to be. Critics are not simply measuring enjoyment. Their role is closer to cultural analysis, assessing not just whether something is entertaining, but whether it has substance, ambition, or artistic merit.

If a film’s primary goal is to entertain, to provide a kind of cinematic sugar rush, should it be judged harshly for not aiming higher? Critics would argue yes. Enjoyment alone does not equal quality. A movie that plays it safe, avoids risk, and says nothing new might be fun, but that does not necessarily make it good.

Audiences, understandably, do not always care about that distinction. Sometimes people just want to have fun. They want something familiar, celebratory, and emotionally satisfying, and there is nothing wrong with that.

But it does raise an uncomfortable question. If a film is designed to please and succeeds at doing exactly that, should it be immune to criticism?

The answer is probably no, but fans may need to acknowledge what they are valuing. Loving a crowd pleaser does not mean it is a deeply crafted piece of storytelling. It means it works on the level it aims for.

This growing disconnect may also explain why studios have increasingly embraced influencers over traditional critics in promoting their films. Influencers often share the sensibilities of general audiences. They respond to hype, spectacle, and immediate enjoyment, and that alignment makes their praise feel more relevant when a film prioritizes experience over depth.

So the gap persists, and maybe it always will. Because in the end, critics and audiences are not really arguing about the same thing. They are answering two entirely different questions.

I often find myself somewhere in the middle. I love entertaining films, but I still want depth. There are times when critics champion films that feel so distant from general audiences that even I struggle to connect with them, and I enjoy more complex, prestige cinema. The Zone of Interest is a good example. It was widely acclaimed, but not exactly an easy watch.

At the same time, I will always show up for the next disposable superhero movie, even knowing exactly what I am going to get.

Neither audiences nor critics are wrong. They are just valuing different things. And maybe the only real solution is a simple one. Go see the movie and decide for yourself.

That sentence alone would’ve shocked me a few years ago.

Because not long ago, I actively avoided horror. It wasn’t just disinterest, I had a very specific idea of what the genre was. In my head, it was either something like The Conjuring, designed purely to terrify you, or The Texas Chain Saw Massacre, designed to make you feel physically ill. Neither sounded like a good time.

Fast forward to today, and horror has gone from something I avoided completely to my favorite genre. I’d put a lot of that down to the pandemic.

Like a lot of people, I ran out of new things to watch. With fewer releases coming out, I started scraping the barrel, and when you’re doing that, you end up saying yes to things you would normally skip. A few horror movies slipped into the rotation.

Then a few more.

And then suddenly, I couldn’t get enough.

Why I Fell for Horror

The genre has two huge advantages over others:

• First, they’re short. Most clock in at around 90 minutes, which is kind of the perfect runtime. This horror obsession also happened to line up with me having kids, which meant a lot less free time.

• They’re almost never boring. Even a mediocre horror movie has tension, suspense, or at least one “oh sh*t” moment.

In other words: short and thrilling. My kind of combo.

The 10 Movies That Pulled Me Into the Horror Abyss

These aren’t necessarily my all-time favorites, but rather the ones that changed how I saw the genre, my gateway drugs to horror.

1. The Rental (2020)

Plot: Two couples rent a vacation home for what should be a relaxing getaway. Spoiler: it’s not.

This is the gateway film for me.

Before this, I genuinely thought all horror movies had to be extreme. Either terrifying like The Conjuring, or brutal and hard to watch like The Texas Chain Saw Massacre.

This showed me something completely different. It’s mostly just a tense, well-acted story about relationships, trust, and things slowly unraveling. The horror elements are there, but they’re subtle. They creep in rather than hit you over the head.

That was the moment it clicked that horror didn’t have to be overwhelming to be effective. It could be controlled, grounded, and still incredibly gripping.

2. Barbarian (2022)

Plot: A woman checks into her Airbnb and discovers the house is not what it seems.

If The Rental eased me in, Barbarian completely blew the doors open.

This is the movie that taught me horror can be completely unhinged, in the best possible way. It can be shocking, weird, funny, and genuinely terrifying all at once.

Going in blind is essential so I dare not say any more.

3. The Substance (2024)

Plot: A fading celebrity takes a black-market drug: a cell-replicating substance that helps her create a younger, better version of herself.

This is the film that really showed me horror’s power as metaphor. I genuinely don’t think any genre does social commentary better. You can take real human issues like vanity, aging, ethics, inequality, all the messy stuff we deal with, and explore them through something grotesque and exaggerated.

Horror has the power to make it hit harder, because instead of just talking about the issue, horror forces you to feel it. It makes it uncomfortable, unavoidable, and in this case, impossible to ignore.

This one in particular, from Coralie Fargeat, cuts deep. It takes aim at beauty standards and the pressure placed on women, then pushes it to such an extreme that it becomes both absurd and painfully real at the same time.

I truly believe this is one of the best films of the decade.

4. As Above, So Below (2014)

Plot: A team of explorers ventures into the Paris catacombs and discovers the city’s darkest secret.

Such A Cool Movie!!!!! It feels like someone took the puzzle-solving, clue-chasing energy of something like Indiana Jones and the Last Crusade or The Da Vinci Code and dropped it straight into a horror movie. You’ve got riddles, hidden passages, historical references, all that fun adventure stuff, but layered with constant tension and dread.

And then you add the found footage element on top.

This was the moment I realized found footage might actually be my favorite horror subgenre (I watched this back-to-back with REC which helped). There’s something about it that just feels more immersive. It is trying to look real, so when it works, it really works. It pulls you in and makes everything feel a bit more chaotic, a bit more intense, and a lot more immediate.

It’s also just an absolute thrill ride. It moves fast, keeps escalating, and never really lets you breathe.

5. Anaconda (1997)

Plot: A documentary crew is taken hostage by a hunter who is obsessed with capturing a massive, deadly snake.

This is pure “so bad it’s good” territory, and I had an absolute blast with it.

It’s messy, over-the-top, and completely ridiculous in places, but that’s kind of the point. It doesn’t take itself too seriously, and once you lean into that, it becomes incredibly fun.

I’d always known horror could be fun, especially with stuff like Shaun of the Dead, but this hit at the perfect time in my journey.

It helped me loosen up a bit and stop overthinking the genre.

6. The Ritual (2017)

Plot: A group of old friends reunite for a hiking trip in Sweden, only to find themselves being stalked by a mysterious presence.

There’s nothing wildly groundbreaking here, it’s just a really solid horror movie.

And sometimes that’s exactly what you need. When I first got into horror, I went on a bit of a run just watching as many modern films as I could find. This was the one that stood out.

Great atmosphere, simple premise, genuinely tense, and it doesn’t overstay its welcome.

7. Bodies Bodies Bodies (2022)

Plot: A group of wealthy twenty-somethings throw a hurricane party that spirals into chaos when a party game turns deadly.

This barely feels like a traditional horror movie at times, and that’s kind of why I love it. It’s more of a chaotic social satire with horror elements sprinkled in. The dialogue, the characters, the energy, it’s just fun to be around.

Also helps that I love Rachel Sennott.

Weirdly, I didn’t love this the first time I saw it in cinemas. But it’s one of those films that gets better every time you watch it. I’ve revisited it multiple times now, and it’s gone all the way up to a five-star for me.

8. Green Room (2015)

Plot: A punk band finds themselves trapped in a venue after witnessing a violent crime, and must fight to survive.

This is less about traditional horror and more about pure, relentless stress.

And I mean that in the best way.

There’s something about “real people in real danger” that hits differently. No ghosts, no supernatural safety net, just a situation spiraling completely out of control.

It gives me the same kind of anxiety as films like Uncut Gems, where everything just keeps getting worse and worse.

This is the kind of tension that really pulled me deeper into the genre.

9. Train to Busan (2016)

Plot: As a zombie outbreak spreads across South Korea, passengers on a train must fight to survive.

I think creature features are often the easiest entry point into horror, especially for people who don’t usually like the genre.

It’s intense, fast-paced, and genuinely terrifying at times, but it’s also incredibly emotional. The characters feel real, their decisions matter, and the stakes hit hard.

One of the best films I’ve seen, not just in horror, but full stop.

10. Doctor Sleep (2019)

Plot: Years after the events of The Shining, Dan Torrance must protect a young girl with similar powers from a dangerous cult.

I had to include a Mike Flanagan project, because I genuinely think he’s the best working director in horror right now.

I already loved The Shining, and I’m a big fan of Ewan McGregor, so this was always likely to work for me. But what really stood out was how it expanded the world. It built on the original in a way that felt meaningful, not just nostalgic.

And I loved that the young girl wasn’t treated like a typical damsel in distress. She’s powerful, capable, and central to the story.

Also worth shouting out Midnight Mass and The Haunting of Hill House, both of which were massive in my horror journey.

Bonus Shoutout: The Rewatchables Podcast

I’m ride or die for The Ringer’s Rewatchables podcast, and they really helped me appreciate horror more. Episodes on The Shining, The Purge, and The Conjuring had me laughing and geeking out, it made horror feel like a shared, communal joy, not just something to survive.

Final Thoughts ☠️

Early on, I gravitated toward horror lite. movies with just enough dread without the “sleep-with-the-lights-on” trauma. But now? I actively seek out the scary stuff. I love The Conjuring, Texas Chainsaw Massacre, The Hills Have Eyes, The Exorcist… all the classics I once avoided.

I don’t love torture porn or gore for its own sake, but when it serves the story, I’m all in. Because ultimately, what makes horror so incredible is that it’s never just about the scare. It’s the most entertaining genre out there, thrilling, emotionally rich, and endlessly inventive in the stories it tells about being human.

So if you still think horror isn’t for you… maybe you just haven’t met the right monster yet.

I’d seen a few of the obvious ones like The Sound of Music and Mary Poppins, but beyond that, not much. And if I’m being honest, a big barrier to entry was the assumption that a lot of them would be… boring. And to be honest, a lot of them are, but not all of them, and that’s where this list comes in.

A few years ago, I decided to start watching more classic films. I definitely waded through my fair share of bad ones, but a few really rose to the top and I ended up loving them.

So, if you’re in the same boat and want to start exploring more classic films, these are the ones that completely shifted my perspective. The biggest compliment I can give them is this: they’re genuinely entertaining, and they hold up.

For context, I’m defining “classic” here as anything pre-1960s.

Seven Chances (1925)

PLOT: A man must get married by 7 p.m. to inherit a fortune, sparking complete chaos.

You really can’t go wrong with Buster Keaton. I’ve seen all of his films and this one’s my favorite (with Sherlock Jr. close behind). About two thirds of the movie plays like a rom-com, and I remember wondering if we were ever going to get the classic Keaton stunt work… and then the final third turns into one of the most insane chase sequences I’ve ever seen. It’s chaotic in a way that honestly reminded me of something like After Hours.

Billy Wilder is probably my favorite filmmaker from this era because his movies are just so damn entertaining. That’s why I’ve got 3:

The Apartment (1960)

PLOT: A lonely office worker lends his apartment to executives for affairs, complicating his own life.

This was the first one I watched (mainly because it won Best Picture), and it completely surprised me. This is a rom-com with such a hilarious premise, the dialogue is so witty, and it balances comedy and drama perfectly.

Witness for the Prosecution (1957)

PLOT: A lawyer defends a man in a bizarre and twist-filled murder case.

A courtroom drama that reminded me a lot of 12 Angry Men, but way more playful and entertaining.

Some Like It Hot (1959)

PLOT: Two musicians disguise themselves as women to escape the mob.

My favorite of the three and honestly just one of the best comedies ever made.

Strangers on a Train (1951)

PLOT: Two strangers agree to swap murders to commit the perfect crime.

Before I started diving into Alfred Hitchcock, I weirdly thought he was just a horror director because I only knew Psycho and The Birds. But he’s just a master of tension across everything. He’s also clearly obsessed with murder. What I loved about this one is how unpredictable it is. I had no idea what Bruno was going to do next, or how Guy was going to get out of it. But you can’t go wrong with ANY of the Hitchcock films, they’re all great.

The Killing (1956)

PLOT: A carefully planned racetrack heist starts to unravel.

Traditionally I’m not a fan of noir/ neo noir, and I find Stanley Kubrick a bit hit or miss, but I loved this. It’s fast, tight, and incredibly gripping. The ending is an absolute all-timer and had me so stressed. It’s also a clear inspiration for many heist films today.

Gentlemen Prefer Blondes (1953)

PLOT: Two showgirls travel to Paris while navigating romance and suspicion.

This was one of the first classic films I watched that really made me want to keep going. It kind of has everything. The musical numbers, the comedy, the costumes, the energy between the two leads. And it’s all done in 90 minutes. The pacing honestly felt better than most modern films.

Singin’ in the Rain (1952)

PLOT: A silent film star navigates the transition to talkies while falling in love.

I watched this after Damien Chazelle’s Babylon and I’m honestly angry my parents never showed it to me as a kid. It’s just pure joy in film form, and one of those films that reminds you how much you love movies.

Casablanca (1942)

PLOT: A cynical expatriate reconnects with a former lover during WWII.

There’s a reason this is considered one of the greatest films ever. Humphrey Bogart is incredible, balancing cynicism and heartbreak so effortlessly, and the whole film just has this atmosphere that still works today.

Mutiny on the Bounty (1935)

PLOT: A ship’s crew revolts against their cruel captain.

I watched this during a longggg drought of bad Best Picture winners, so it really stood out. This would easily be my favourite “oldest” movie, if that makes sense. I genuinely don’t know how they pulled off some of these visuals in the 1930s. Charles Laughton is one of the best villains I’ve seen, and the mutiny feels completely justified. Also, Clark Gable… I get it now.

Roman Holiday (1953)

PLOT: A runaway princess spends a day in Rome with a journalist who hides her identity.

This was the film that made me realize older movies could actually be funny. It’s basically a rom-com, and you can see how many modern films have been inspired by it. Audrey Hepburn is just effortlessly charming.

12 Angry Men (1957)

PLOT: A jury debates a seemingly straightforward murder case.

This is one of the best examples of how powerful a script can be. It’s literally just a conversation in one room, and yet it’s completely gripping from start to finish.

Brief Encounter (1945)

PLOT: A married woman and a doctor form a quiet but intense romantic connection.

The best way I can describe this is that it’s basically the original Before Sunset. It’s one of the few romances where you really feel two people gradually falling in love. It’s subtle, emotional, and kind of devastating.

Final Thoughts

If you’re hesitant about classic films, I get it. I was the same.

But the reality is, the best ones don’t feel like homework. They’re funny, tense, romantic, chaotic, and surprisingly modern.

So, if you don’t know where to start, start here.

I promise you won’t be bored with these ones.

If you’re chasing that “Euphoria-coded” vibe, it comes down to intense coming-of-age stories that spiral. Addiction, complicated relationships, and that constant heavy undercurrent.

Euphoria is pretty unique, especially in its music and visual style, but there are films that come close. Here are the ones that capture a similar energy.

Thirteen (2003)

PLOT: When 13-year-old Tracy befriends Evie, the most popular girl in school, her life is turned upside down as Evie introduces her to a world of sex, drugs, and money. But it isn’t long before Tracy’s new lifestyle begins to take a heavy toll on her and her family.

This is probably the closest you’ll get to Euphoria in film form. I saw this in cinemas when I wasn’t much older than 13 and remember feeling pretty traumatized. It perfectly captures the darkness of early teenagehood, with an explicit look at drugs, sex, and everything in between. It’s a raw, real, and truly haunting coming-of-age story that doesn’t pull any punches.

Go (1999)

PLOT: A supermarket clerk decides to step in for an absent drug dealer, setting off an explosive, comedic chain of events.

This movie feels surprisingly close to the vibes of Euphoria‘s upcoming Season 3 (even though we’re only one episode in!). It’s an anthology-style story with intertwined narratives that touch on everything from drug deals to unexpected turns of events, much like the sprawling storylines in Euphoria. It’s a lot of fun, perhaps not quite as dark, but still deeply messed up in its own right.

How To Have Sex (2023)

PLOT: Three British teenage girls go on a rites-of-passage holiday, drinking, clubbing, and hooking up, in what should be the best summer of their lives.

This film is a critically important watch, especially regarding themes of consent. It delves into the darker realities of teenage experiences during a “rites-of-passage” trip, echoing the complex and sometimes upsetting dynamics seen in Euphoria. It’s a potent and necessary coming-of-age drama.

The Fallout (2021)

PLOT: In the wake of a school tragedy, Vada, Mia, and Quinton form a unique and dynamic bond as they navigate the never linear, often confusing journey to heal in a world that feels forever changed.

This film explores trauma and connection. The intense bond formed between the two lead characters, Vada and Mia, really reminded me of the complex and often codependent relationship between Rue and Jules. It’s a poignant portrayal of finding solace and understanding through shared tragedy.

Saltburn (2023)

PLOT: Struggling to find his place at Oxford University, student Oliver Quick finds himself drawn into the world of the charming and aristocratic Felix Catton, who invites him to Saltburn, his eccentric family’s sprawling estate, for a summer never to be forgotten.

This “eat the rich” style dramedy definitely brings the coming-of-age vibes, but with a darkly comedic twist. It even stars Jacob Elordi from Euphoria, though in a very different role! Saltburn is highly stylized, much like Euphoria, but it stands out for also being incredibly fun and entertaining, despite its subversive undercurrents.

Cruel Intentions (1999)

PLOT: Slaking a thirst for dangerous games, Kathryn challenges her stepbrother, Sebastian, to deflower their headmaster’s daughter before the summer ends. If he succeeds, the prize is the chance to bed Kathryn. But if he loses, Kathryn will claim his most prized possession.

This one might be the most campy and unrealistic on the list, but if you’re looking for incredibly dark, manipulative teens and a whole lot of dramatic shenanigans, Cruel Intentions delivers. The characters are undeniably twisted, pulling you into their web of dangerous games.

Shiva Baby (2020)

PLOT: College student Danielle must cover her tracks when she unexpectedly runs into her sugar daddy at a shiva - with her parents, ex-girlfriend and family friends also in attendance.

I do try to work Shiva Baby into every list, but this is genuinely a solid Euphoria comp. It leans more Cassie-coded, with a bit of Jules through the escort storyline, but the constant stress and anxiety feels very Rue.

American Beauty (1999)

PLOT: Lester Burnham, a depressed suburban father in a mid-life crisis, decides to turn his hectic life around after developing an infatuation with his daughter’s attractive friend.

While this film is primarily from the perspective of a parent, Euphoria definitely gives us plenty of parent-child drama, making American Beauty relevant. You’ll find troubled teens dealing with incredibly heavy issues here, seen through the lens of suburban dysfunction.

The Bling Ring (2013)

PLOT: Inspired by actual events, a group of fame-obsessed teenagers use the Internet to track celebrities’ whereabouts in order to rob their homes.

This movie perfectly encapsulates the chaos and unsettling mentality that can arise in certain teenagers. It showcases a striking lack of empathy and the sometimes shocking things they’re capable of, drawing a strong correlation to the unsettling attitudes we often see in the Euphoria teens.

Mid90s (2018)

PLOT: In 1990s Los Angeles, a 13-year-old spends his summer navigating between a troubled home life and a crew of new friends he meets at a skate shop.

Our main character here is much younger than the Euphoria crew, but the film shares a similar, deeply disturbing darkness. It’s a raw, coming-of-age story, albeit from a male perspective, offering a different but equally intense exploration of youth.

Pleasure (2021)

PLOT: 19-year-old Linnéa leaves her small town in Sweden and heads for Los Angeles with the aim of becoming the world’s next big porn star, but the road to her goal turns out to be bumpier than she imagined.

This film, while a coming-of-age story, powerfully explores the complex topic of consent within the porn industry. It strongly resonates with Kat’s Season 1 storyline and even Cassie’s burgeoning OnlyFans venture in Season 3. It’s another dark and unflinching look at aspirations meeting harsh realities, rather than a “fun” watch.

Anora (2024)

PLOT: A young sex worker from Brooklyn gets her chance at a Cinderella story when she meets and impulsively marries the son of an oligarch. Once the news reaches Russia, her fairytale is threatened as his parents set out to get the marriage annulled.

While perhaps the least direct comparison to Euphoria, Anora still carries a certain atmospheric resonance. You’ll find yourself amidst shady characters and a protagonist navigating incredibly tricky, anxiety-inducing situations. Plus, it’s just a banger of a film on its own!

Final Thoughts:

Euphoria is still very much in its own lane. Nothing fully captures that exact mix of style, music, and emotional intensity.

But if you’re looking for that same feeling, something a little chaotic, a little heavy, and very real underneath it all, these films come pretty close.

Because the truth is, The Drama is not interested in giving us answers. It is asking questions. And more importantly, it is asking us to sit with the discomfort of not having clear ones.

At its core, the film pushes us to wrestle with difficult ideas. What carries more weight: what someone intends to do, or what they actually do? Can people truly change, or are we permanently defined by our worst moments? Who deserves forgiveness, and who gets to decide that? Is there a limit to empathy, and if so, where do we draw the line?

Before going further, it is worth noting that this discussion involves major spoilers.
So here is your spoiler warning…

The film presents two central confessions from childhood, each disturbing in its own way, but fundamentally different in nature.

Rachel, played by Alana Haim, recounts an incident where she locked a mentally disabled child in a closet. Initially, she frames the story in vague terms, downplaying the severity. But as she is pressed for more details, the truth becomes far more unsettling. The “closet” was located inside an abandoned trailer, isolated in the woods and far from the child’s home.

What stands out is not just the act itself, but Rachel’s retelling of it. She glosses over the child’s fear and distress, focusing instead on her own emotional experience. There is a noticeable absence of empathy in how she processes the memory. More troubling still, when questioned by the child’s father about his whereabouts, she chose to remain silent. The implication is that the child was left there for over two days. In that time, without access to food or water, the situation becomes not just cruel but life-threatening. Regardless of her initial panic, the consequences of her actions are severe and lasting.

In contrast, Emma, played by Zendaya, reveals that she once planned a mass shooting. She had written a manifesto, practiced with a weapon and even brought one to school, and intended to harm her classmates. However, she ultimately does not go through with it.

This is where the film draws its most uncomfortable line of inquiry. Rachel caused undeniable harm without fully grasping the magnitude of her actions in the moment. Emma, on the other hand, demonstrated clear intent to commit violence but stopped short of carrying it out.

Impact versus intent.

It’s a debate without a clear answer, and while the film resists offering one, it doesn’t shy away from exposing the hypocrisy in how society judges these situations.

Layered into this moral tension is the character played by Robert Pattinson, who at first feels slightly removed from the gravity of the conversation. When he takes part in the exercise, the worst thing he can come up with is bullying a kid when he was younger, something that is quickly brushed off as relatively minor. He positions himself as someone who hasn’t crossed a serious line, which subtly informs how judgmental and unequipped he is in responding to Emma’s confession.

But that perspective shifts by the end.

In a moment that derails a major turning point in his life, he makes a decision that becomes, undeniably, the worst thing he has ever done. And it’s only then, when he is the one being judged in real time, that his understanding deepens. The film suggests that empathy often doesn’t come from theory or discussion, but from experience, from knowing what it feels like to be reduced to a single moment and forced to sit with it.

The film’s exploration of remorse and growth is where a lot of the online conversation has landed, and the response has been telling. Many viewers are quick to condemn Rachel, while offering Emma a surprising amount of grace.

What’s interesting is how that grace is being applied.

A lot of people seem to be viewing it from Emma’s perspective, imagining what it’s like to confess something like this. But very few are putting themselves in Charlie’s position, receiving that information just days before his wedding. And that shift in perspective changes everything.

It also feels at odds with how we actually behave in real life as a broader society. People are constantly “cancelled” for things they said or did years ago, with little room for context or growth. Yet here, audiences are far more willing to empathize and excuse.

That contradiction feels intentional.

So, does The Drama succeed in what it sets out to do?

Absolutely. It sparks conversation, forces introspection, and exposes the inconsistencies in how we assign blame and empathy. At the same time, the reactions it has generated suggest that many viewers are still grappling with those inconsistencies. The tendency to pick a side, to label one character as entirely wrong and the other as forgivable, arguably overlooks the film’s central message.

This is not a story about choosing who is worse. It is about examining why we feel the need to make that choice in the first place.

And perhaps more importantly, it is about recognizing that morality is rarely as clear-cut as we would like it to be.

Not “if you like heist films.”
Not “if you’re into crime dramas.”
Not even “if you like movies.”

Just… anyone.

Because somehow, against all odds, Inside Man manages to be universally likeable while still being genuinely smart, stylish, and wildly entertaining. And honestly, that’s rarer than it should be.

Directed by Spike Lee, the film quietly redefined what a heist movie could look like. It takes a genre built on precision and control, then injects it with personality, misdirection, and just enough chaos to keep you constantly second-guessing everything you’re seeing.

And it has everything you could possibly want:

A stacked cast.
A cool, tightly constructed story that actually keeps you guessing.
A fixer.
An immaculately planned heist.
Backstabbing.
Intrigue.
An all-timer performance from Denzel Washington.
A great score.
A crime drama with real stakes.
Rewatchable.

But most importantly, it’s entertaining AF.

And for me, that’s the number one currency of ANY film.

The Hook Is Simple. The Execution Isn’t.

Plot:
A police detective, a bank robber, and a high-powered broker enter a tense negotiation after a meticulously planned heist spirals into a hostage situation.

On paper, it sounds familiar. You’ve seen this setup before.

But Inside Man doesn’t play the game the way you expect.

The heist is clever.
The structure is tighter than it first appears.
And the film constantly toys with your assumptions about who’s in control.

It’s less about what is happening and more about how it’s happening… and why.

A Chess Match Disguised as a Heist Movie

This isn’t your standard cops-and-robbers story.

Spike Lee turns the entire film into a kind of playful chess match about power, greed, and perception. Every move feels deliberate. Every line of dialogue feels like it’s doing double duty.

The heist itself is smart.
But the misdirection? Even smarter.

You’re not just watching a plan unfold. You’re watching a narrative being manipulated in real time.

A Spike Lee Film That Doesn’t Feel Like One… Until It Does

If you told someone this was a Spike Lee film without them knowing, they might not guess it right away.

It’s easily his most commercial movie. The pacing is tight, the structure is clean, and it leans heavily into genre.

But look closer, and you’ll see his fingerprints everywhere.

The social commentary is there.
The tension between power and class is baked into the story.
The subtle commentary on perception, identity, and control quietly simmers beneath the surface. It’s Spike Lee, just operating in stealth mode.

It’s also unmistakably a New York movie. The energy, the tension, the mix of people. Nobody captures the city quite like Spike Lee, and here, New York feels like a character in the film rather than just a backdrop.

Why This Is My “Recommend to Anyone” Movie

As a cinephile and certified movie nerd, people are constantly asking me for recommendations. And for me, Inside Man is always at the top of that list because it hits a perfect balance:

It’s smart, but not alienating.
Stylish, but not indulgent.
Complex, but easy to follow.
Genre-bending in a way that genuinely surprises.
And above all, it’s just… fun.

You don’t need to love heist movies.
You don’t need to care about crime dramas.

You just need to want to be entertained for two hours.

And I genuinely believe that almost anyone who presses play will, at the very least, have a great time.

If You Like This, Watch:

I don’t think any of these quite have the same universal appeal, but they’re all five-star films in a similar lane and absolute must-watches:

Dog Day Afternoon
The Town
Heat
Reservoir Dogs

But historically, the Oscars have not always returned that love.

For decades, the Academy leaned toward smaller, prestige-driven films. The kinds of movies that win critical acclaim, but not necessarily global box office. Blockbusters, especially genre films, were often left out of the biggest category of all.

That tension reached a breaking point in 2009.

The Expansion Era: When Everything Changed

When The Dark Knight was snubbed for Best Picture, despite massive acclaim and box office success (not to mention from one of our best working directors), the backlash was immediate and loud.

Directed by Christopher Nolan, the film wasn’t just popular. It was widely considered the best film of the year, and its absence exposed a growing disconnect between what audiences loved and what the Academy rewarded.

The response was structural.

• In 2009, the Best Picture lineup expanded from 5 nominees to a flexible range of up to 10

• By 2011, that system was fully implemented

• And since 2021, the Academy guarantees a full 10 nominees every year

And while this originally started as embracing more blockbusters, it also opened the door to more international films, and genre films being recognized.

The Stats: How Many Blockbusters Actually Get In?

Let’s define a “blockbuster” as any film grossing over $100 million worldwide.

Since the Academy locked in 10 nominees, a clear pattern has emerged:

2026 — 4 nominees

• F1 ($630M)

• Sinners ($360M)

• Marty Supreme ($270M)

• One Battle After Another ($200M)

2025 — 4 nominees

• Wicked ($700M)

• Dune: Part Two ($714M)

• A Complete Unknown ($110M)

• Conclave ($100M)

2024 — 4 nominees

• Barbie ($1.44B)

• Oppenheimer ($950M)

• Killers of the Flower Moon ($150M)

• Poor Things ($110M)

2023 — 4 nominees

• Avatar: The Way of Water ($2.3B)

• Top Gun: Maverick ($1.4B)

• Elvis ($280M)

• Everything Everywhere All at Once ($100M)

2022 — 1 nominee (COVID impact)

• Dune ($400M)

2021 — 0 nominees (COVID year)

What the Data Actually Tells Us

The takeaway is surprisingly consistent:

• We now get around 4 blockbusters in Best Picture every year

• Typically:

  • 2–3 are obvious locks (huge franchises or prestige hits)

  • 1 is a breakout overperformer

Think:

• Avatar or Top Gun as the obvious picks

• Everything Everywhere All at Once or Sinners as the wildcard

The Oscars haven’t fully become “popular film awards”, but they’ve clearly evolved. Blockbusters are no longer excluded. They’re expected.

Looking Ahead: 2026 Contenders

Now to the fun part: what’s coming next?

Here are the major 2026 releases likely to cross $100M and enter the Oscar conversation, and their budgets:

• Project Hail Mary (Phil Lord & Chris Miller) – ~$200M

• The Odyssey (Christopher Nolan) – ~$250M

• Dune: Part Three (Denis Villeneuve) – ~$200M

• Digger (Alejandro G. Iñárritu) – ~$120–150M (est.)

• Disclosure Day (Steven Spielberg) – ~$100–150M (est.)

• Michael (Antoine Fuqua) – ~$90–120M (est.)

• Werwulf (Robert Eggers) – ~$60–90M (est.)

• The Social Reckoning (Aaron Sorkin) – ~$70–100M (est.)

• The Dog Stars (Ridley Scott) – ~$110M

A few things stand out immediately:

• This is a director-heavy slate

• Several films blur the line between prestige and blockbuster

• There isn’t really room for a surprise breakout

So Who Makes the Cut?

It’s early, but if we assume the “rule of four” holds…

The safest bets right now:

1. Project Hail Mary
   Has already opened to more than $300 million and growing, critically acclaimed and beloved by everyone. This isn’t just on paper, we know it’s a hit.

2. The Odyssey
   Nolan plus scale almost guarantees both box office and Academy attention

3. Dune: Part Three
   The Academy clearly loves this franchise; the question is whether or not it can overcome the sequel bias the academy has.

4. Digger
   Huge budget, Warner Bros will likely put a ton into its campaign, and everyone wants to see Tom Cruise get an Oscar.

Honorable Mention:

• The Social Reckoning
  Sorkin, timely subject matter, potential late surge

And crucially, this doesn’t even account for the inevitable wildcard. The film no one predicts that suddenly overperforms both commercially and critically.

There’s always one.

The Bigger Picture

The Oscars didn’t suddenly fall in love with blockbusters.
They were forced to adapt and thank God.

And now, we’re in a new equilibrium where:

• Prestige still dominates

• But popularity can’t be ignored

The result is a Best Picture lineup that finally feels closer to what people are actually watching.

The question is what will make the cut, because there’s not enough spots for all of them.

There are a handful of actors about to dominate 2026 in a way we rarely see anymore. To qualify here, I’m sticking to actors with three or more major releases across film and television in a single calendar year. In today’s landscape, even one major project a year feels standard. Having three or more is genuinely rare, and thus freakin exciting!!!!

So let’s break down who’s about to own 2026, and then look back at a few all-time stacked years from the past.

2026

Anne Hathaway

• The Devil Wears Prada 2 — May 2026

• The Odyssey — July 2026

• The End of Oak Street — August 14, 2026

• Mother Mary — TBA 2026

• Verity — TBA 2026

This is about as stacked as it gets. Legacy franchise sequel, Nolan epic, A24 prestige, thriller adaptation, and a weird sci-fi wildcard. It’s not just quantity, its range, and Hathaway is hitting every quadrant of the industry at once.

Zendaya

• The Drama — April 3, 2026

• Euphoria (Season 3) — April 2026

• Spider-Man: Brand New Day — July 31, 2026

• The Odyssey — July 17, 2026

• Dune: Part Three — December 18, 2026

• Shrek 5 — December 2026

This is next level. A prestige film, a returning TV phenomenon, two massive blockbusters within weeks of each other, and then closing the year with Dune and Shrek. Has an actor ever done this before?
It’s Zendaya’s world, and we’re just living in it, and it couldn’t be happening to a more deserving, talented actor.

Robert Pattinson

• The Drama — April 3, 2026

• The Odyssey — July 17, 2026

• Here Comes the Flood — TBA 2026

• Dune: Part Three — December 18, 2026

Pattinson should honestly be grouped with Zendaya. They’re sharing multiple projects, which makes their 2026 run feel even more dominant (and can confirm their chemistry is excellent together after seeing The Drama). In Pattinson fashion this is a curated slate. Auteur-driven, big-budget, and just enough mystery.

Jacob Elordi

• Wuthering Heights — February 14, 2026

• Euphoria (Season 3) — April 2026

• The Dog Stars — August 28, 2026

Not quite as stacked numerically, but still hits the threshold. And with Frankenstein late last year and a heavy presence on the awards circuit in Q1, he’s felt constant. Elordi has well and truly ushered himself in as one of our biggest stars today.

It’s rarer than you’d think. And while 2026 feels huge, it’s not the first time a few actors have completely taken over a year.
Other stacked years include:

Scarlett Johansson — 2019

• Avengers: Endgame

• Marriage Story

• Jojo Rabbit

An incredible run. Two Oscar nominations in the same year, which is one of the rarest achievements in acting history.

Pedro Pascal — 2025

• Eddington

• The Last of Us

• Materialists

• The Fantastic Four

I love Pedro, but this is where the conversation around overexposure starts. Even with someone this widely liked, the audience can turn quickly when it feels like you’re everywhere all at once.

Jim Carrey — 1994

• The Mask

• Dumb and Dumber

• Ace Ventura: Pet Detective

One of the greatest single-year runs ever. Pure box office dominance. It’s hard to imagine a comedy run like this happening again.

Ben Stiller — 2004

• Along Came Polly

• Starsky & Hutch

• DodgeBall: A True Underdog Story

• Meet the Fockers

Four releases in one year is wild. Maybe not as iconic across the board as Carrey’s run, but still a huge presence at the box office.

Leonardo DiCaprio — 2006 (honorary mention)

• The Departed

• Blood Diamond

Not a 3+ year, but too good to ignore. An Oscar nomination for Blood Diamond and a Best Picture winner with The Departed. Still one of the best double runs ever, and DiCaprio has a few years like this.

Jennifer Lawrence — 2012

• The Hunger Games

• House at the End of the Street

• Silver Linings Playbook

Launching a billion-dollar franchise and winning an Oscar in the same year is absurd. That’s why she’s JLaw!

Gwyneth Paltrow — 1998

• Great Expectations

• Sliding Doors

• A Perfect Murder

• Shakespeare in Love

Four films and an Oscar win. One of the most complete “stacked years” ever.

Final thought

What makes 2026 interesting isn’t just the volume. It’s the mix of Blockbusters, prestige films, TV, voice work, all colliding at once. It feels closer to how Hollywood used to operate, just scaled up globally.

The only real question is whether this kind of visibility helps or hurts. History shows it can go either way, but if anyone can prevail it’s definitely Zendaya!!!!

So… who did I miss?