The Top Movies of 2026 (Up to This Point)

      As we near the midway point of 2026, it's time to take stock of the best cinema released so far. We've compiled a list of our favorites from the first six months of this year, including some hidden gems. Please note that this selection is based exclusively on U.S. theatrical and digital releases from 2026.

      Explore our choices below, organized alphabetically, along with honorable mentions.

      **28 Years Later: The Bone Temple (Nia DaCosta)**

      In *28 Years Later: The Bone Temple*, the Jimmy gang returns, led by Jack O’Connell in a role reminiscent of his Irish vampire antagonist from last year's *Sinners*. They have taken Spike (Alfie Williams), the young protagonist from the previous film, under their wing, now separated from his parents. At the end of the last movie, they saved Spike from the infected, but their sinister plans to assert themselves as leaders in a post-apocalyptic world soon come to light, involving the brutal torture of nonconforming survivors. The disturbing violence portrayed here diverges from the campy spine-ripping humor present in Boyle's earlier film. – Ethan V. (full review)

      **A Balcony in Limoges (Jérôme Reybaud)**

      Reybaud depicts an unexpected reunion between two former classmates now in middle age. Eugénie, a proud single mother, meets Gladys, who has chosen a life of homelessness, rejecting societal norms. Reybaud encapsulates these two women as symbols of contrasting societal types today. Eugénie clings to a fading neoliberal order, while Gladys exemplifies the vehement rejection that has fueled far-right movements. *A Balcony in Limoges* showcases their conflict, with Eugénie believing she can "rescue" Gladys, whose self-destructive actions are a rebuke to Eugénie’s beliefs. Reybaud highlights that both women grapple with the same issue of surviving in a crumbling system, blind to their shared struggle. The resolution is both shocking and humorous, serving as dark comedy that underscores our failure to envision a better future. – C.J. Prince (read more)

      **Blue Film (Elliot Tuttle)**

      The term "provocation" has become diluted in recent years; provoking someone can now be as simple as making superficial offensive comments or tackling every divisive issue to provoke a reaction. However, *Blue Film* truly embodies provocation. Elliott Tuttle’s film aims to disconcert, challenge, and provoke thought. Yet, above all, it endeavors to foster understanding for both central characters, portraying them as complex, flawed humans we'd prefer not to face. – Devan S. (full review)

      **Blue Heron (Sophy Romvari)**

      In *Blue Heron*, Romvari's feature debut, the director revisits her own narratives, tracing a Hungarian family's experience settling in a mundane suburb outside Vancouver. The film opens with the youngest child, Sasha (Eylul Guven), remarking, “I struggle now to remember much of my childhood,” as she reflects on her older stepbrother Jeremy (Edik Beddoes), an introverted teen with troubling self-destructive tendencies. Romvari does not merely depict him as a troubled youth. Throughout *Blue Heron*, he remains the film's most enigmatic character, and Romvari’s empathy shines through as she refrains from pathologizing his pain, inviting us to appreciate his silent struggles, allowing grown-up Sasha (Amy Zimmer) to piece together fragmented memories later on. – Leonardo G. (full review)

      **The Currents (Milagros Mumenthaler)**

      Writer-director Milagros Mumenthaler crafts an intimate portrayal of a woman grappling with her fractured identity while resisting the pull of madness. Mumenthaler acknowledges that motherhood often requires performance, indicating that a mother’s life is no longer solely her own. Though her love for her daughter remains, Lina fears the overpowering current of her life. In therapy, she articulates a fear of water's strength, recognizing the fragility of her existence, which eroded when she jumped from a bridge. Despite the eccentricity of her fears, the emotions resonate with any woman feeling overwhelmed by their circumstances. – Jourdain S. (full review)

      **Disclosure Day (Steven Spielberg)**

      Certain beliefs bind humanity, such as the notion of the extraordinary becoming possible—or even the impossible. Steven Spielberg openly embraces the idea of extraterrestrial life and encourages others to do the same. With sincerity, he returns to this high-stakes concept, emphasizing a profound thought: “Empathy is the essence of animated existence, our unique evolutionary advantage.” He aims to remind us of our capacity for empathy. – Luke H. (full review)

      **Dry Leaf (Alexandre Koberidze)**

      *Dry Leaf*, while languorous but not laborious, meditative yet not meandering, and abstract without being obscure,