ScreenRant Movie Review Roundup: SXSW 2026, Ready or Not 2, Mike & Nick & Nick & Alice & More!

Gregory Nussen is the Lead Film Critic for Screen Rant. They have previously written for Deadline Hollywood, Slant Magazine, Backstage and Salon. Other bylines: In Review Online, Vague Visages, Bright Lights Film Journal, The Servant, The Harbour Journal, Boing Boing Knock-LA & IfNotNow's Medium. They were the recipient of the 2022 New York Film Critics Circle Graduate Prize in Criticism, and are a proud member of GALECA, the Society of LGBTQ Entertainment Critics. They co-host the Great British Baking Podcast. Gregory also has a robust performance career: their most recent solo performance, QFWFQ, was nominated for five awards, winning Best Solo Theatre at the Hollywood Fringe Festival in 2025.

Lewis Pullman, in particular, is an extraordinary force. His every gesture is acute and vulnerable.

This sequel is all bluster, filled with lazy world building and cheap humor that frequently undercuts whatever genuine tension that precedes it.

The approach very purposefully helps to disengage us from the idea that transgenderism is somehow divorced from any other form of human existence.

Kolstad and Bob Odenkirk bring on English director Ben Wheatley, whose own particular brand of satirical, messy masculinity pairs really nicely with highly precise stunt choreography.

Tonally askew, time travel-based buddy comedy that constantly eschews believability for rough-hewn, who's-on-first type dialogue of an increasingly obnoxious tenor.

The action beats mostly emanate out of controlled incompetence, like Buster Keaton with heaps of blood, but comically and dramatically, Over Your Dead Body exhausts itself.

The film is more sardonic than [John] Carney's previous work, and even a little morose, but is still candied by gentleness.

Being that this is a real family that has worked together for decades, their chemistry elevates the somewhat lackluster writing to deliver a pleasurable, if tame experience.

The immediate magic of Brian is that it does everything with grace, ease, and a healthy understanding that sometimes messing up repeatedly is just very funny.

Silly, sweet, and abundantly surprising, Dempsey Bryk's feature debut pulls off a rare stunt indeed.

[Charlie] Day shines, giving one of his best performances yet in a film that is just as emotionally raw as it is funny.

The directorial debut from Bayan Joonam gives Phoenix the space to speak, but the juicier bits are left dangling at the end like a hanging chad.

[Hannah] Einbinder turns in a magnificently dialed-in, heart-forward and honest performance... Theroux has rarely been this funny.

This may well be [Dakota] Fanning's best performance to date, an intricately laced characterization of someone who is as filled with determination and dignity as she is by indecision.

Sender is designed with extraordinary precision.... Britt Lower is especially phenomenal.

Despite the movie feeling imbalanced, One Another proves to be a generally charming enough diversion. Love's visual direction and editing choices are artful yet intimate.

The central gambit of the film reveals itself too quickly, and once it does, The Fox just repeats itself with diminishing results.

The bleak punchline of this tepid, seriocomic film is philosophically naive.

The genre-bending sci-fi horror-comedy became the talk of the town for its unabashedly sexy, psychedelic tale of addiction and trauma. Even after a year-long wait to bring it to theaters, it's still very much worth your attention.

At once wretched, beguiling in its vileness, hopelessly romantic and fascinatingly disgusting, Dead Lover cements Glowicki as one of Canada's most exciting voices.

It's just such a shame that Tow seems so content to coast on Byrne's talent and the generally touching core of its true story.

Coppola has made a documentary on two people that is both intellectually rigorous and refreshingly intimate.

Mirrors No. 3, Christian Petzold’s fourth collaboration with Paula Beer, is a soft and delicately observed tale of doubling and desire.

With Palestine 36, [Annemarie Jacir] pulls off something of the impossible: a purely anti-colonialist film with the aesthetic polish of a big-budget Hollywood epic.

Kiki’s Delivery Service is soft and whimsical, a sprawling fantasy rich in magical spectacle, supernatural creatures, and epic narrative tension.

A decade on, though, it’s evident that [the film] was judged too harshly. It throws generic formula – and to a degree, common sense – to the wind in favor of a darker, brutal reality.