Chris Pine
Some of this year’s coverage from Sundance Film Festival 2026, the last in Park City.
Wish is a Disney film with many Disney stuff but rarely features any of that Disney magic, reminding the audience of far better films.
Poolman might not be for everyone, but for those of us who want to see a Chinatown-loving himbo finding himself in his own mystery, this is a worthy comedy.
Wish will follow a young girl named Asha who wishes on a star and gets a more direct answer than she bargained for when a trouble-making star comes down.
With the cast all giving fun performances and the visual effect creativity dialed up to eleven, you can’t help but cheer and clap.
A charming thief and a band of unlikely adventurers embark on an epic quest to retrieve a lost relic, but things go dangerously awry.
While Don’t Worry Darling has some very good perks it ultimately tries to work with too many ideas without giving them one direction.
Two CIA operatives, and former lovers, reunite at idyllic Carmel-by-the-Sea to re-examine a mission six years prior in Vienna.
Warner Bros. has finally made Wonder Woman 1984 available physically on Blu-Ray, and franchise fans should be pleased with the results.
Though not without its flaws, Wonder Woman 1984 proves to be a worthy and striking follow-up to an already great prequel.
Gal Gadot is back as Wonder Woman, and one more solo hit should make her the unequivocal face of the DCEU.
I Am the Night is a thrill ride that not only tells Fauna Hodel’s incredible story, but also pays homage to the LA noirs of the past.
Outlaw King is ambitious, striving for originality and historical accuracy, but overall fails to bring much to the table in terms of grounding its characters.
Jenkins, Gadot and company all worked admirably to bring the first Wonder Woman film out in a grand, exciting way, and that work has not gone to waste.
Arrival and Hell or High Water are both allegorical, effective films from last year, yet they also tend to state their themes too bluntly.