{"id":3308,"date":"2026-06-30T17:06:56","date_gmt":"2026-06-30T17:06:56","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=3308"},"modified":"2026-06-30T17:06:56","modified_gmt":"2026-06-30T17:06:56","slug":"the-best-movies-of-2026-so-far","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=3308","title":{"rendered":"The Best Movies of 2026 (So Far)"},"content":{"rendered":"<div>\n<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tYou can\u2019t evaluate a movie year \u2014 not really \u2014 when you\u2019re only halfway through it. But you can take its temperature. And at the midway point, what we can say is that the patient looks healthier than it has in a long time. If the box office were up (which it is), but <em>only <\/em>because of processed franchise hits, that would be a mixed blessing. But the box office is up thanks to a great many commercial films that audiences experienced as unabashed and organic pleasures, from the bantery, media-savvy \u201cThe Devil Wears Prada 2\u201d to the tricky, exbullient \u201cToy Story 5.\u201d Then there were the megahit horror films, like \u201cObsession\u201d and \u201cBackrooms,\u201d that came from outside the box, not to mention the pop performance spectacles (\u201cEPiC: Elvis Presley in Concert,\u201d \u201cBillie Eilish: Hit Me Hard and Soft\u201d), the crowd-pleasing behemoths with soul (\u201cProject Hail Mary,\u201d \u201cMichael\u201d), and the independent films with a bold spirit (\u201cIs God Is,\u201d \u201cThe Drama,\u201d \u201cI Love Boosters,\u201d \u201cThe Furious,\u201d \u201cThe Invite,\u201d \u201cOur Hero, Balthazar\u201d\u2026the list goes on). As <em>Variety<\/em> chief film critics Owen Gleiberman and Guy Lodge roll out their choices for the best movies of 2026 (so far), the news isn\u2019t just that movies are alive but that they\u2019re (almost) (kind of) thriving.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3306\">Dylan O\u2019Brien to Play Disgraced Reality Star in Hulu Comedy Pilot \u2018Lex\u2019<\/a><\/p>\n<div>\n<div>\n<ul>\n<li>\n<article>\n<h2>Blue Heron<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tIn the mid-\u201990s, a Hungarian immigrant family attempts to settle and integrate itself into suburban Vancouver society, though their best intentions are frequently hijacked by the deteriorating mental illness of the black-sheep eldest son; through the eyes of his younger sister, caught between fear and hero worship, a formative tragedy plays out in slow motion. From a raw chapter of her own family history, Canadian filmmaker Sophy Romvari\u2019s quite miraculous first feature extracts both devastating drama and a radically inventive formal inquiry into the boundaries between memory, memoir and imagination. That sounds like a lot, but \u201cBlue Heron\u201d wears its ambitions with humility, and its broken heart with a gauze of wise, measured perspective. This isn\u2019t a film that leads with trauma, but with richly specific domestic detail and a vivid awareness of how children see and process the world around them. If the story on screen were pure fiction, it would be just as deeply affecting, though the elegance with which Romvari pivots into documentary is something to behold. <em>\u2014 Guy Lodge<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>EPiC: Elvis Presley in Concert<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tYou might ask: Why Elvis, why now? The simple answer is that Baz Luhrmann\u2019s electrifying documentary, which is built around lavishly restored footage of Elvis Presley performing in Las Vegas in 1969 and the early \u201970s, is one of the most thrilling concert films you\u2019ll ever see. The slightly more complicated answer is that there\u2019s still a mythology hanging over Elvis during this period \u2014 the Liberace-as-rock-god white suit and car-grille sunglasses, the sweat pouring off his shag-carpet sideburns, the onstage karate moves \u2014 that can add up to a vision of the king of rock \u2018n\u2019 roll presiding over a kingdom of kitsch. The reality, however, is that the early-Vegas Elvis was an ecstatic gyrating rock dynamo, more electrifying than Freddie Mercury, with that tremolo vibrato that transformed every note into a pearly gem. Diving into a treasure trove of newly discovered footage, Luhrmann turns it all into an elegant streamlined concert movie that makes you want to applaud every level of its showmanship. <em>\u2014Owen Gleiberman<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>The Invite<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tA bravura dinner-party dramedy that\u2019s like \u201cWho\u2019s Afraid of Virginia Woolf?\u201d remade by the Woody Allen of \u201cHusbands and Wives.\u201d Within those familiar tropes, the movie is so original, so brimming with surprise, so fresh and up-to-the-minute in its perceptions of how relationships work (or don\u2019t) that you watch it in a state of rapt immersion and delight. Seth Rogen and Olivia Wilde play a grousing, long-married San Francisco couple who have their upstairs neighbors (Pen\u00e9lope Cruz and Edward Norton) over to dinner, only to discover that these two are what used to be called swingers (they\u2019re now presented as \u201cenlightened\u201d New Age addicts of group sex). Will a foursome happen? That sounds like the premise of a certain kind of indie movie (let\u2019s call it kinky-cute), but \u201cThe Invite\u201d is blessedly not that movie. Wilde, who directed it, invests Will McCormack and Rashida Jones\u2019s relentlessly sharp screenplay with an astonishing feeling of lived-in experience. \u201cThe Invite\u201d is about horniness and loneliness and love and possibility, and about how the movie is going to take this situation and run with it, neither playing it safe nor making it too easy. <em>\u2014OG<\/em>\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>Is God Is<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tWhat happened here? It\u2019s one of the year\u2019s bigger mysteries that this auspicious directorial debut from acclaimed playwright Aleshea Harris didn\u2019t show up anywhere on the festival circuit before being released with little fanfare in May. In another year, you could imagine this furiously visceral and caustically funny female revenge drama being the toast of Sundance or SXSW; as it is, even many critics don\u2019t know it exists. But time should secure \u201cIs God Is\u201d a following, especially if stars Kara Young (a two-time Tony winner) and Mallori Johnson blow up the way they should. More than holding their own against a supporting cast that includes Sterling K. Brown, Janelle Monae and Vivica A. Fox, they\u2019re the year\u2019s most electric double act so far as twin sisters, physically and psychologically scarred by childhood abuse, seeking to even the score with the father who wronged them. A marvellous writer, Harris is conversant in the languages of both ruthless exploitation cinema and radical feminist theatre, with filmmaking brio to match. Whatever she makes next, here\u2019s hoping more attention is paid. <em>\u2014GL<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>Obsession<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tCurry Barker\u2019s breakout feature is the hero in Hollywood\u2019s biggest David-and-Goliath narrative of the last few years: a simple chiller budgeted at under a million dollars, it has made over $200 million to date, outgrossing a new \u201cStar Wars\u201d movie in the spring box office race. This would be heartening even if the film weren\u2019t up to much; even more happily, it is. In a multiplex wasteland of infinite sequels and rehashes, Barker proves that well-turned original scripts don\u2019t even have to be radically new to stand out. His reworking of the age-old monkey\u2019s-paw trope is classically structured and executed, but intelligently rooted in the present: Its tale of a lovelorn young man wishing for his crush to reciprocate his feelings \u2014 only to find that devotion on demand doesn\u2019t feel good at all \u2014 engages with the politics of codependent relationships, the toxic narcissism of the manosphere and even the dehumanizing dangers of AI. But it\u2019s also just a frighteningly effective straight-up horror movie, with a jaw-dropping, star-making performance by Inde Navarrette as a woman trapped in one man\u2019s will. <em>\u2014GL<\/em><\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3304\">Academy Museum Adds Guillermo del Toro, John Gore and Gale Anne Hurd to Board of Trustees<\/a><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>Our Hero, Balthazar<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tThe title character is no one\u2019s idea of a hero, but he\u2019s certainly a creature for our time. Balthazar, played in a hipster fade and with a puppy-dog scowl by Jaeden Martell, is a New York rich kid who acts out his boredom by posting videos of himself crying in the most tormented and \u201csincere\u201d way. Playing off an online world where everything is now performative (<em>I act out my supremely empathic vulnerability, therefore I am<\/em>), Oscar Boyson\u2019s cutting, audacious, at times astonishing first feature captures a new lost middle-class youth culture that has turned exhibitionism into its own reality. When Balthazar posts a video in sympathy with the victims of a school shooting, he starts to get messages from someone who claims to be the shooter. Has he found his grisly soulmate? Playing this other phantom lost boy, Asa Butterfield acts with a socio-bro attitude and a raw sorrow that seems to slice open the dark heart of what now drives so many lonely young men.\u00a0\u201cOur Hero, Balthazar\u201d turns into a screw-loose buddy movie (\u201cThe Edgelord and the Incel\u201d), but what it\u2019s really about is a virtual youth culture gone nuts. <em>\u2014OG<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>Power Ballad<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tI believe in the marketplace enough not to say this too often, but John Carney\u2019s enthralling music drama really should have been a bigger hit. It\u2019s got everything his earlier films have \u2014 the melodic rapture, the touching melancholy of those who truly believe a song can save your life \u2014 but it\u2019s also got a brashly unfolding drama that smolders with anger and loss. Paul Rudd hits the true note as Rick Power, a gifted late-\u201980s\/\u201990s rocker who didn\u2019t quite make it and is now a more-or-less contented husband and father who works as a wedding singer in Ireland. One night, he finds himself noodling around a guitar and piano with Danny (Nick Jonas), a former boy-band singer who hasn\u2019t been able to thread the needle of solo stardom. Months later, Danny has a catchy slow-rock hit \u2014 with a song he stole from Rick. Rudd doesn\u2019t soft-pedal the darkness of playing someone whose dream has been taken. \u201cPower Ballad\u201d is the rare authentic drama about the music industry, but is also taps into themes of identity and ownership that touch on the mysteries of pop. <em>\u2014OG<\/em>\u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>Rosa Nevada<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tBack in 2019, Mark Jenkin\u2019s microbudget breakout feature \u201cBait\u201d was the unlikeliest of crossover hits in Britain, snaring both arthouse cinephiles who thrilled to his handcrafted evocation of grainy \u201960s realism and regional audiences who felt seen by his proudly working-class, Cornish-set riposte to middle-class gentrification. Two films later, his time-travel puzzle \u201cRose of Nevada\u201d feels like a veritable blockbuster by comparison \u2014 it even has stars, in the form of a never-better George MacKay and rumored 007 contender Callum Turner \u2014 but stays remarkably true to those gritty, grounded principles. Gorgeously shot on tactile 16mm film that lends the whole movie the look of a forgotten, sun-faded family photo album, it\u2019s lo-fi sci-fi with a killer high concept, following two hard-up contemporary fishermen as they take a job on a rusty old trawler bound for the past. The less you know going in, the better, but Jenkin is as interested in the poignant human fallout of his big idea as he is in its brain-melting logistics. <em>\u2014GL<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>Silent Friend<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tHow did \u201ctree-hugger\u201d become a pejorative? Shouldn\u2019t we all love trees a little more? Rallying brilliantly after the disappointment of her 2021 Europudding \u201cThe Story of My Wife,\u201d Hungarian director Ildik\u00f3 Enyedi certainly thinks so: Her strange, sensual and unexpectedly sweet new film does much to dignify that hippie-baiting term, with a century-spanning triptych of stories \u2014 linked by one weirdly sexy ginkgo tree \u2014 that collectively probe the connection between human and plant life in ways you might not have considered before, much less seen on screen. Tony Leung, bringing reliable gravitas to a wild idea, plays a scientist locked down in a Hamburg university during COVID, who in his isolation discovers a way to communicate with trees; in different strata of the past, appealing young stars Luna Wedler and Johannes Hegemann are the students whose botanic discoveries mesh with his. Like Enyedi\u2019s beguiling, Oscar-nominated \u201cOn Body and Soul,\u201d it\u2019s a hard film to encapsulate on paper; on screen, it sprawls and spreads and winds itself around you with something close to magic. <em>\u2014GL<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<li>\n<article>\n<h2>Toy Story 5<\/h2>\n<p><!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tI christened it the \u201cAbbey Road\u201d of \u201cToy Story\u201d movies because it\u2019s a sublime summing up, a film that reflects the entire series in its magic mirror. Yet just when you think the \u201cToy Story\u201d series has reached its perfect ending, something else will happen in the culture that demands the \u201cToy Story\u201d take. So who knows if and where this series will go next? For our moment, director Andrew Stanton and company have crafted a nimble, moving, irresistible fairy tale that uses the rise of tech toys \u2014 smart tablets for kids \u2014 to pose a more profound question than just, \u201cAre Woody and Jessie and their analog colleagues now <em>really <\/em>obsolete?\u201d The true question is: Who are we going to be, as children who grow into adult humans, if we lose the capacity for imaginative play? \u201cToy Story 5\u201d escalates in delight (the climactic wedding ceremony must be seen to be believed), but it also has moments that hit you like a gut punch. The message is: Slow down, be real and <em>play<\/em>. The fun you take is equal to the fun you make.\u00a0<em>\u2014OG<\/em>\u00a0\u00a0<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3302\">Chris Martin\u2019s \u2018Not Very Good\u2019 Attempt to Write a James Bond Theme Song Goes on Auction<\/a><\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The news isn\u2019t just that movies are alive but that they\u2019re (almost) (kind of) thriving.<\/p>\n","protected":false},"author":1,"featured_media":3307,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2720,2721,18,2722,2597],"class_list":["post-3308","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-epic-elvis-presley-in-concert","tag-is-god-is","tag-obsession","tag-the-best-movies-of-2026-so-far","tag-the-invite"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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