Summer style always sounds effortless . . . until you’re actually standing in front of your closet trying to get dressed in the heat. The wrong fabric, the wrong fit or just one extra layer can make an outfit feel completely off. That’s why Amazon’s new “Summer Wardrobe Refresh” edit couldn’t have landed at a better time.

It’s packed with easy dresses, flowy pants, chic sandals and cute accessories that take the guesswork out of putting an outfit together. The pieces are designed to feel light, look polished and work across whatever your day has planned. And with prices starting at just $10, it’s an easy excuse to upgrade a few staples.

17 Top Picks From Amazon’s New ‘Summer Wardrobe Refresh’ Edit

Dresses

1. Our Favorite: Pink tropical leaves print this short-sleeve mini dress in flowy fabric that skims rather than clings. The $12 price tag makes it an easy yes for vacation packing.

2. Runner-Up: When jeans feel impossible, and shorts feel like too much, this resort sundress becomes the easy answer. One piece, done, and you actually feel good in it.

3. Has Pockets: Pockets on a maxi dress shouldn’t be a luxury, but here we are. This floral T-shirt dress handles your phone and lip balm so you can ditch the bag.

4. Figure-Flattering: The V-neck and A-line silhouette on this navy floral sundress define the waist while skimming everything below. The short sleeves cover the upper arms without feeling heavy.

5. Rich Mom-Style: Ruffled cap sleeves, a button front and a tie waist on this striped midi dress actually flatter the shape. The full look reads expensive without trying hard.

Related: The 13 Best Finds From Amazon’s New May Fashion Arrivals — From $15

As temperatures rise, I always start craving lighter, prettier pieces that feel more exciting than the same basics I’ve been rotating for months. That’s exactly why I scrolled through Amazon’s May new arrivals searching for stylish wardrobe upgrades that wouldn’t completely derail my budget. This month’s fashion finds feel especially good. From easy sundresses for […]

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Skirts and Pants

6. Our Favorite: When the weather turns sticky, and jeans feel punishing, these wide-leg palazzo pants solve it. It brings an airy fabric, a forgiving cut and instantly cooler feel.

7. Flirty Florals: Picture vineyard photos, an outdoor dinner, sandals and a simple tank with this chiffon floral skirt. It’s a piece that pulls the whole look together.

8. Luxe Linen: For beach town strolls, seafood dinners, and travel days when you want to look put-together, these cropped linen pants are perfection. They pack flat and look intentional.

Blouses and Tops

9. Our Favorite: With an oversized cut, classic stripes and a relaxed crewneck, it’s no wonder shoppers keep coming back for this striped short-sleeve top. Not to mention, it also drapes instead of clinging.

10. Boutique-Looking: Made with puff sleeves, a V-neck and a vibrant floral design, this babydoll peplum blouse looks like something from a small-shop boutique. It’s just a $27 Amazon find!

11. Everyday Ease: The 3/4 sleeves do the heavy lifting on this everyday floral blouse, covering enough to feel comfortable without overheating. It easily becomes a weekly rotation piece.

12. Ravishing Ruffles: Tuck this shirred strap tank into linen shorts for the patio or layer under a denim jacket on a cooler night. It can easily do both, and is just $15.

Shoes

13. Our Favorite: These H cut-out sandals dress up an outfit without the four-figure price tag. With an open toe, slip-on construction and an H-shaped cutout, they mimic a designer pair.

14. Sleek Sneakers: These white walking sneakers don’t shout for attention. Made with a clean white leather-look upper, classic tie-up laces and a low profile, they go with everything.

15. Very Viral: These square-toe flip flops read elevated — not pool deck style. Featuring a square toe, flat leather construction and a minimalist, its no wonder they’re flying off Amazon.

Accessories

16. Our Favorite: Sometimes a white tee just needs one good piece of jewelry. This chunky resin bracelet does that work for just $12 — no overthinking required.

17. Woven Winner: This striped beach bag holds up to actual sand and saltwater. With a striped woven straw construction and a roomy shoulder shape, it fits at least a towel, sunscreen and a book.

Related: 17 Resort-Ready Staples From Amazon That Are *Actually* Worth It

You’ve booked the trip, blocked the calendar and now you’re staring at a closet full of clothes that feel wrong for poolside lunches and sunset dinners. The pieces from a few seasons back don’t quite fit the vibe, but you’re not about to drop a paycheck on a vacation wardrobe you’ll wear for one week. […]

The truth is, there is no other media quite as universally beloved as the Walt Disney Company. From theme parks to feature films, Disney has held a special place in our hearts since childhood. Why? Our entry point is the Disney animated films. In 1937, Disney released Snow White and the Seven Dwarfs, changing cinema forever. With the release of Zootopia 2, there have been 65 theatrical animated features. Now, for clarity, those only fall under the main umbrella and do not include Pixar, Touchstone, or the like.

Within that monumental number, there have been groundbreaking, game-changing films like Beauty and the Beast and The Lion King. But for every smash hit, there was always a film or two that had been forgotten. And not the bad ones. The films that were near-perfect. Perhaps it was due to timing or got lost in the shuffle amid massive hits, but the films on this list are excellent entries in the Disney Vault.

‘Atlantis: The Lost Empire’ (2001)

Image via Walt Disney Animation

Anything that came directly out of the Disney Renaissance would be highly scrutinized. If it veered away from the typical formula that made the ’90s sensational, it had to be good and with purpose. But some films, despite being good and exploring new frontiers, didn’t get the attention they deserved simply because they weren’t Disney musicals. One such example was 2001’s Atlantis: The Lost Empire. The film was a sci-fi adventure story in which Milo Thatch (Michael J. Fox), a linguist, joins a team of mercenaries in 1914 to find the sunken city of Atlantis. Guided by an ancient book, they discover a living, advanced civilization, leading to a conflict where Milo must protect the Atlanteans from his own crew’s greed. Atlantis: The Lost Empire was a beautifully distinct art style and an appealing story that focused on a genre mostly untapped by Disney animation.

Perhaps the reason the film has been forgotten, aside from the devoted Disneyphiles, is that it took major risks. First, it was a science fiction adventure story. It couldn’t be further away from the princesses that dominated the Disney Renaissance. Though, to be fair, Princess Kida (Cree Summer) technically is a Disney princess, so there was a way to tie it all back to the company’s previous success. Second, it was not a musical but a straightforward animated feature. It’s not what audiences wanted. Yet, if you examine the film as a singular entry, it was a unique departure from the traditional formula, where a Jules Verne-like steampunk aesthetic took charge. It was an impressive visual and technical achievement that blended the classic hand-drawn style with the emerging 3D CGI advancements. Atlantis: The Lost Empire is a film that didn’t deserve to be lost to time.

‘Brother Bear’ (2003)

Image via Walt Disney Animation

If there is one thing that Disney animation can do extraordinarily well, it is create an evocative atmosphere. The animators conduct extensive explorations to ensure they achieve visual perfection in their stories. You can enjoy a story, but you must feel fully immersed in the world and among the characters. It’s why you felt as if you were actually in the Pacific Northwest, namely Alaska, while watching Brother Bear. A truly touching film about family, set in a post-Ice Age Alaska, an impulsive Inuit youth named Kenai (Joaquin Phoenix) kills a bear in vengeance after it causes his older brother’s death. The Great Spirits punish Kenai by transforming him into a bear, forcing him to walk in the animal’s footsteps in order to become human again. Kenai bonds with an orphan cub, Koda (Jeremy Suarez), and eventually learns lessons of love and brotherhood. With a twist that only Bambi could dream of, Brother Bear had everything that should have worked to become an instant classic had it arrived at a completely different time.

With a string of non-musicals before it and the worldwide phenomenon that was Finding Nemo released only months prior, Brother Bear suffered the fate of Disney’s early aughts dark ages. Critics at the time seemed to want something bold and daring, yet the “safe” buddy-adventure story was reminiscent of classic Disney. There was significant cultural significance in that it explored a locale and community that had mostly been untapped in animation thus far. There was levity in the story, thanks to the side characters Rutt and Tuke, voiced by Rick Moranis and Dave Thomas, who drew inspiration from their classic comedy duo, Bob and Doug McKenzie. But most importantly, the songs were wonderful. Though it may not have been as significant as those found in Tarzan, the tracks from Phil Collins moved the story along thematically in a similar manner while also serving as wonderful standalone songs. Perhaps had the film taken off, “Welcome” would have become a top-tier Disney anthem. Nevertheless, despite the beautiful wilderness brought to life through classic animation and the rich emotional depth, Brother Bear arrived at the worst of times.

‘Meet the Robinsons’ (2007)

There has never been a Disney animated film that evokes the spirit of the man behind the mouse more than Meet the Robinsons. Visually striking with a captivating story, the science fiction film, as great as it was, did not find its place in the early aughts. Based on the 1990 children’s book A Day with Wilbur Robinson by William Joyce, the story centers around Lewis (Jordan Fry and Daniel Hansen), a brilliant young orphan inventor who travels to the future with a boy named Wilbur Robinson (Wesley Singerman) to stop a villain called Bowler Hat Guy (Stephen Anderson). After his inventions fail, Lewis finds a new perspective on failure, resilience, and family, ultimately learning to “Keep Moving Forward.” A genuine, heartfelt story about family, innovation, resilience, and letting go of the past, Meet the Robinsons featured a brilliant soundtrack, a bold animation style, and a profound discussion about adoption in the modern age.

Meet the Robinsons was a unique film in the sense that the story championed failure. Not as a knock, but as a means to never give up. It was a profound element of the story’s emotional core. Meet the Robinsons taught young viewers to keep trying because the risk is worth the reward. If that theme didn’t capture you, then certainly the lens of adoption and found family should have. Meet the Robinsons presents the lingering effects of the lack of unconditional love in early childhood. It may be used as a villain origin story, but it was meant to serve as a reminder of love’s power. Simply look at the eccentric Robinson family, as they highlighted that love and acceptance define family more than bloodline. A genuine hidden gem, Meet the Robinsons arrived during the transition to 3D animation, which would see massive success in the films that followed with the Disney Revival, including Tangled, Frozen, and Moana. Timing is everything, and for Meet the Robinsons, it didn’t get the great big, beautiful tomorrow it deserved. No better time than now to reexamine it!

‘Oliver & Company’ (1988)

Image via Walt Disney Animation

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There are many things that make a classic Disney animated feature: talking animals, iconic songs, and an accessible story. So, why then did Oliver & Company miss out on being the flag bearer of the Disney Renaissance? That question still remains, but Oliver & Company is that film that usually pops up in your mind much later when you list out Disney films. Perhaps only the important bridge as the transitional film from the dark ages to the Disney Renaissance, Oliver & Company took the classic Charles Dickens tale Oliver Twist and reimagined it as a modern story set in New York City. The story tells the tale of an abandoned, orphaned kitten named Oliver (Joey Lawrence) as he joins a gang of homeless dogs led by Dodger (Billy Joel) and their human owner, Fagin (Dom DeLuise), a petty thief indebted to loan shark Sykes (Robert Loggia). After being adopted by a wealthy girl named Jenny (Natalie Gregory), Oliver is caught between his new comfortable life and his loyalty to his street-smart friends. An ode to found family and the greatest city in the world, Oliver & Company taught us to ask, “Why should I worry? Why should I care?”

Oliver & Company was a high-energy, heartwarming tale of friendship and found family. While the ’80s NYC atmosphere was specific to the time and ultimately not “timeless,” the emotional core was. The voice cast predated the ’90s trend of including big-name stars. Billy Joel and Bette Midler?! And they get their own songs?! What could be better? It’s a shame that “Perfect Isn’t Easy” didn’t emerge as a lasting masterpiece. Disney IP, when it takes off, is exploited by every means possible— in the parks, as merchandise, in future media. Oliver & Company came and went without that care in the world because it was overshadowed greatly by its Don Bluth competitor, The Land Before Time, which arrived on the exact same date, and the extraordinary success of the next Disney animated film, The Little Mermaid. Even though both Oliver & Company and The Little Mermaid had a similar formula—a musical adventure based on a classic story—the latter launched the Disney Renaissance because it was escapism at its finest, calling back to the Disney princesses of yore. Oliver & Company is an important film in the larger discussion of Disney animation, but as a piece of cinema on its own, it’s sadly forgotten. Absitively posolutely!

‘The Great Mouse Detective’ (1986)

Image via Walt Disney Animation

The House of Mouse has been home to the world’s most famous rodent in animated history, Mickey Mouse. But for some reason, Disney in the late ’70s and ’80s expanded the world of mice with two mouse capers. First, in 1977, it was The Rescuers. Then, in 1986, it was The Great Mouse Detective. And it was the latter that was a fantastic tale. Based on the children’s book series Basil of Baker Street by Eve Titus and Paul Galdone, The Great Mouse Detective tells the story of the brilliant mouse detective Basil (Barrie Ingham) as he investigates the kidnapping of toymaker Hiram Flaversham (Alan Young) by a peg-legged bat named Fidget. Basil soon discovers the kidnapping is a plot by his nemesis, Professor Ratigan (Vincent Price), who forces Flaversham to build a robot queen to overthrow the Mouse Queen (Eve Brenner). A delightful adventure film set against the brilliant backdrop of London, The Great Mouse Detective invites children into the world of mystery in a fast-paced, witty manner.

Literally sandwiched between the film that nearly bankrupted the company and the beginning of the Renaissance, The Great Mouse Detective was better than the low point it was released within. Simply lost in the shuffle, The Great Mouse Detective also had competition against another mouse tale, An American Tail. That story of hope and the American Dream, unfortunately, tends to overshadow the Disney hit because the studio was seen in decline. This meant many brilliant elements of the film were discredited. There are many animated villains of the ’80s who get overlooked as Disney greats. We’re talking about you, The Horned King from The Black Cauldron, but another name often forgotten is the infamous Ratigan. He was a rodent that haunted your nightmares because he was so sinister. To be fair, his villain song walked, so tunes like “Gaston” and “Mine, Mine, Mine” could run. As an early animated Disney feature that began to integrate CGI into the animation, The Great Mouse Detective was ahead of its time.

‘The Rescuers Down Under’ (1990)

Image via Walt Disney Animation

If you ask the average person the order of Disney animated films released during the Disney Renaissance, most might say The Little Mermaid and then Beauty and the Beast. That answer would be wrong. There was a film, without princesses and musical numbers, that came in between. Remember the aforementioned The Rescuers? Well, they got a sequel that proved that sometimes Disney sequels can be better than the originals. The Rescuers Down Under took the titular mice from the 1977 film and dropped them into an extraordinary new world, the Australian Outback. Bernard (Bob Newhart) and Bianca (Eva Gabor) travel to the Australian Outback to save a young boy named Cody (Adam Ryen) from a villainous poacher, Percival C. McLeach (George C. Scott), who wants to capture an endangered golden eagle, Marahute, for money. Meeting comical albatross Wilbur (John Candy) and charismatic hopping mouse Jake (Tristan Rogers) along the way, the team sets off on a rescue mission like never before.

Disney films often include an educational element. It was true here as the Australian backdrop provided a wonderful dissertation on animal and environmental rights. An atmospheric wonder, The Rescuers Down Under is simply breathtaking. The film is a thrilling, fast-paced action-adventure that captures the spirit of the Outback and is highly regarded for its masterful cinematography. The soaring flight sequences should have inspired a roller coaster at Walt Disney World. The problem the film faced was not its quality, but facing off against one of the greatest family films of all time: Home Alone. Amid such steep box-office competition, The Rescuers Down Under is neglected. Then, because the Disney Renaissance is remembered for its musical formula, the film tends not to be lumped in with that timeline. A truly daring film that should have advanced more animated adventures, The Rescuers Down Under is also monumental as it was the first to employ the Computer Animation Production System, a digital scanning, ink, paint, and compositing system of software and hardware developed for Disney by Pixar. Historic to say the least.

‘The Sword in the Stone’ (1963)

Image via Walt Disney Animation

The Disney classics represent a very special place in cinema history. But when we discuss the classics, there tends to be a hierarchy based on popularity. And though this film has a presence beyond the screen and in the parks, it doesn’t get the attention it truly deserves. The Sword in the Stone chronicles the story of Arthur (Rickie Sorensen), nicknamed “Wart,” a young orphan, as he’s mentored by the wizard Merlin (Karl Swenson) and his owl, Archimedes (Junius Matthews). The film follows his transformation from a simple squire into a wise, worthy leader as he learns empathy, knowledge, and courage, culminating in his pulling a magical sword from a stone/anvil to become the rightful King of England. Based on the 1938 novel by T. H. White, The Sword in the Stone became Disney’s opportunity to explore medieval times sans the extreme violence through magic and merriment. A true brains-over-brawn story, The Sword in the Stone was an accessible coming-of-age story geared for boys.

A charming, character-driven narrative, the film’s shining moments come from its delightful humor. Every hero needs an antagonist. Here, it came in the form of Madam Mim (Martha Wentworth). Most Disney villains tend to be massive, boisterous presences. Madam Mim was an eccentric, vibrant villain who brought a chaotic energy. She served as a dynamite foil for Merlin, and yet, she is discredited as a top-tier baddie. As far as magic goes, there were very few Disney films quite as magical as The Sword in the Stone. “Higitus Figitus” is a darling moment that set the path for other magical production moments. With stylish animation, wholesome heart, and humor in the banter, The Sword in the Stone should have stayed in the same conversation as the likes of Sleeping Beauty before it and Robin Hood after, but it sadly did not. The more episodic narrative didn’t seem to be at its best. A leisurely stroll to the climax, Disney fans fondly remember the film simply by its presence in front of the carousel.

‘Treasure Planet’ (2002)

Image via Walt Disney Animation

Science fiction action-adventure films were all the rage for two years straight in the world of Disney feature films. Following Atlantis: The Lost Empire came Treasure Planet. And though it’s safe to assume there was very little time to regroup and course correct, Treasure Planet relied on a slick hand-drawn and computer-generated mix to garner appeal. Taking the story from Robert Louis Stevenson‘s Treasure Island, Treasure Planet follows rebellious teen Jim Hawkins (Joseph Gordon-Levitt), who is given a holographic map to the legendary “loot of a thousand worlds” by dying pilot Billy Bones (Patrick McGoohan). He joins a space voyage aboard the RLS Legacy, bonding with the charismatic cyborg cook, John Silver (Brian Murray), who is secretly leading a mutiny. A daring tale of abandonment, rebellion, and emotional maturity crafted within a fantastic spacepunk aesthetic, Treasure Planet may have felt fresh to Disney, but the treasure was its heart.

Treasure Planet is one of the most beautifully created films of this Disney era. Through its marriage of 18th-century nautical bits and bobs with sci-fi elements, the film possessed a distinct visual vocabulary neverseen in a Disney animated feature before. Layering in a Celtic-inspired score with a memorable, thematic soundtrack, and Treasure Plant became something unique. It was a complex-looking film that happened to be quite mature. For some audiences, this type of escapism wasn’t what Disney was known for. X marked the spot, but the film never found its. Further, with other mature kid-centric films, like Harry Potter, to compete with, it was impossible to find the treasure at the box office. Treasure Planet was a passion project that found a cult following. As far as a Disney classic, it was lost in space.

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Treasure Planet

Release Date

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November 27, 2002

Runtime

95minutes

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Director

John Musker

Writers

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John Musker

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Let’s be real: piecing together a full-on wedding guest outfit from a single retailer is pretty unheard of. It usually requires a bit of ‘Frankensteining’ from multiple stores, which can get tricky and shockingly costly. So when we discovered that Amazon dropped an entire hub dedicated to wedding guest looks, we picked our jaws up off the floor and got to shopping.

You can easily find elegant spring pieces that’ll make you look like the star of the ceremony (second to the bride, of course). Luxurious-looking wedding guest dresses, designer-style jewelry, celeb-approved purses and truly comfortable yet chic shoes are all up for grabs right now. And while they give off total rich mom vibes, we’re pleased to report that nothing on our list crosses the $100 mark. In fact, prices start as low as $15! See our favorites from Kate Spade, Madewell, Grace Karin, Petal & Pup and more.

15 Spring Wedding Guest Outfit Essentials — Starting at $15

Wedding Guest Dresses

1. Our Favorite: She’s simple, sweet and perfect for every venue. Yes, we’re talking about this midi cocktail dress. The popular pick has a conservative neckline, which is ideal for church ceremonies and family gatherings post-wedding. Plus, the stretchy bodice and A-line design totally give you an hourglass figure.

2. Runner-Up: Celebrities, Us Weekly editors and every cool ‘It’ girl are rocking butter yellow this spring, and this maxi find lets you do so at the next wedding event. The floral pattern and ruffle details give the dress a feminine appearance while also slimming your figure.

3. Richy Rich: Everyone will think you spent hundreds on this wedding guest dress, but we’ll never divulge your secret. This Petal & Pup number has a shiny satin finish, a mock neckline and a beautiful drape that feels designer.

4. Anything But Basic: This classic formal dress gets an ethereal twist, thanks to the free-flowing mesh ruffle details that give storybook vibes. We also really like the modern square neckline and semi-wide shoulder straps that give the dress some extra interest.

5. Dreamy Print: Everything about this Grace Karin dress will make you feel like a princess. You can thank the pretty floral pattern, ruffle-accented sleeves and a slimming, cinched waist.

6. In Tiers: Forget the shapewear — this strapless maxi dress has a ruffle tiered design that conceals the tummy area without fail. Plus, the smocked bodice shows off your curves nicely.

Related: Trending! Amazon’s Hottest Wedding Guest Dresses Are Surprisingly Luxe

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You just got the wedding invite, the ceremony is in three weeks and your closet is full of ‘maybe’ dresses that don’t quite work. Sound familiar? Finding wedding guest dresses that feel fresh, age-appropriate and actually flattering can turn into a frustrating, expensive spiral through department store racks. Here’s the good news: Amazon has quietly […]

Wedding Guest Shoes

7. Designer-Inspired: Cushionaire’s block-heel sandals look just like a designer shoe style loved by this shopping editor. This on-sale option, however, has a slightly higher heel that provides extra height without the pain.

8. Frost Yourself: If you want a little bling without going overboard, opt for some Steve Madden heeled sandals that feature rich-looking rhinestone straps. The low 3-inch heel will make you dance the night away in comfort.

9. Versatile Find: Shoes that work for big life events and casual outings are rare, but this strappy pick gets the balance just right. Simple in design, these square-toe heels let the fun straps be the star. That way, you can dress it up and down, depending on the venue.

10. Going Viral: Celebrities from Martha Stewart to Kate Hudson are loving the metallic trend this season, and a wedding is a great place to show off the style. These silver slingback shoes make a big statement with their shiny, eye-catching look. And the kitten heels make them all the more comfy.

11. Black Tie: Your black tie attire isn’t complete without a pair of sparkly, grand shoes, like these pumps. The straps, counter and heel are all outfitted with this dazzling glitter material that makes it look much more expensive than it is. Spoiler: it’s on sale for $31.

Wedding Guest Accessories

12. Quite the Charmer: Um, can you believe these Kate Spade earrings are actually under $70? We surely cannot. The beautiful floral design, mother of pearl ‘petals’ and faux diamond in the center give it a high-end appeal that would look lovely with any dress highlighted above.

13. Expensive-Looking: Whoever said tennis-style jewelry is just for the court hasn’t seen this Madewell chocker-like necklace. It has bezel-set crystals throughout for a simple yet extravagant touch. Plus, it hangs close to the neck, so it won’t disrupt the flow of your dress look.

14. Celebrity-Approved: A-listers like Bethenny Frankel are long-time fans of JW Pei bags, so we were particularly stocked to find this top-handle option among Amazon’s wedding looks collection. It’s small enough for the wedding, looks designer and is super functional. Peep the removable crossbody strap!

15. Instant Upgrade: Take your wedding guest dress up a notch with this geometrical evening bag that gives off rich mom vibes. The sparkly gold aesthetic is everything, however, we also love that the bag’s compact size is deceiving. You can seriously fit all your essentials in here.

Anyone would expect the goriest horror film in existence to arise from a collaboration between a writer on The Boys, which has some of the gnarliest scenes on recent TV, and the director of The Hostel, a film that has been extensively described as having far too over-the-top torture. The last thing you would expect is a dark fantasy for children. Yet, in 2018, writer Eric Kripke and director Eli Roth teamed up to create the captivating mystery of The House With a Clock in Its Walls. It is based on a novel of the same name and almost acts as a gateway to horror-mystery in the vein of Goosebumps, as it balances dark elements with a Chosen One fantasy that any pre-teen will appreciate.

‘The House With a Clock in Its Walls’ Caters to Every Pre-Teen Fantasy

Like every pre-teen fantasy film, The House With a Clock in Its Walls revolves around a young boy, Lewis (Owen Vaccaro), who has recently lost his parents and is transferred to a new, unfamiliar school after moving in with his eccentric uncle Jonathan (Jack Black). He starts learning about his newfound powers as a warlock with the help of his uncle and their similarly gifted neighbor, Mrs Zimmerman (Cate Blanchett). The set-up is timeless, and Lewis is just quirky enough with his bowtie and a pair of goggles for anyone to be endeared by, especially as they start hunting for the elusive ticking clock hiding in the walls of Uncle Jonathan’s house.

On the surface, the film is a visual delight with enough whimsical elements to keep your attention and interest all the way through. Uncle Johnathan’s mansion is cluttered with golden automatons, textured drapes, and an ever-changing stained window, all with a steampunk finish that reminds us of a cozier version of His Dark Materials. Similarly, themes of coming-of-age, overcoming bullies, and the dangers of breaking certain rules drive the movie forward, which would undoubtedly appeal to most pre-teens. But for adults, the film still feels just as magical with the nostalgia of watching young Lewis fervently shake his magic 8-ball.

However, in this chaotic fantasy world, there are dark threads that make the film the perfect gateway to potentially spookier films for children. Like Goosebumps, the visuals may be an eclectic feast for the eyes, but with Halloween staples like talking jack-o-lanterns and creepier elements like a forbidden cabinet, the movie subtly introduces light-hearted horror themes. Even just the shots of the dozens of clocks ticking away on the mansion’s walls elicit a sense of something not being quite right. When the spirit of Lewis’ mother appears to warn him not to trust anyone, the atmosphere shifts into something more paranoid and sinister, turning what was initially just a house of curiosities into what feels like a sentient, haunted house.

Jack Black Is a Scene-Stealer in Eric Kripke’s Dark Fantasy

Tying the light and dark sides of this movie together is Black’s brilliant, comedic performance that can be so manic, it borders on unnerving. Just like the house, Uncle Johnathan appears vibrant and kooky, as if he came right alongside the magical furniture, but slowly devolves into someone we are suspicious of, especially due to his obsession with the elusive clock. Black’s recognizable delivery pairs beautifully with the frenetic energy in the air, but in The House With a Clock in Its Walls, he pulls back enough that we don’t quite trust him and his intentions with Lewis’ budding powers. He is ever the scene-stealer that elicits enough chuckles to make the familiar beats feel novel.

The House With a Clock in Its Walls certainly is not what we expect from a collaboration between Kripke and Roth, but it is a wonderful and homey collection of all the pre-teen magic elements we love. With Black’s characteristic performance ensuring we laugh throughout the film’s runtime, it is easy to get lost in the whimsical beauty and darker edges of the set design while cozying up to the familiar beats of a classic Chosen One story.

Not every Alan Ritchson role involves punching people through furniture, though it is understandable if your brain goes there first. This one swaps brute-force action for a much softer, more emotional kind of story. It is still about someone moving mountains, technically, but this time the mountains are medical bills, grief, a snowstorm, and the crushing helplessness of watching a child need help you cannot afford. Slightly fewer broken bones, significantly more tears.

Ordinary Angels is now streaming on Peacock, giving the 2024 drama a new wave of attention. Based on true events during the 1994 North American cold wave, the film follows Sharon Steves, a struggling Kentucky hairdresser who finds renewed purpose when she helps Ed Schmitt, a widowed father trying to care for his two daughters while his youngest waits for a liver transplant. The movie grossed around $20.5 million worldwide against a reported $12–13 million budget, which is the exact kind of result small studios want when they put out a film like this. Nice and reliable.

The cast includes Hilary Swank (Million Dollar Baby, Boys Don’t Cry) as Sharon Steves, Emily Mitchell (Priscilla) as Michelle, Skywalker Hughes (Joe Pickett) as Ashley, Nancy Travis (Last Man Standing, So I Married an Axe Murderer) as Barbara, Tamala Jones (Castle, What Men Want), and Drew Powell (Gotham, Straw Dogs).

Is ‘Ordinary Angels’ Any Good?

Ritchson, who’s earned praise for his action roles, is being recognized here for something entirely different. As Collider’s Taylor Gates noted in our review, Ritchson does a great job of delivering even under the constraints of a trope — “the macho construction worker with a warm heart under all his muscles” — but it’s the writing of the film that ultimately lets it down. However, comparing Ritchson to David Harbour or Pedro Pascal in Stranger Things and The Last of Us, Taylor felt that the movie was still worth seeing for Ritchson.

And he’s not alone in stealing hearts. Swank gives what many are calling her most moving performance in years, capturing Shannon’s chaotic energy and hidden pain with nuance and grit. Her chemistry with Ritchson brings both levity and fire to an otherwise deeply emotional story, especially as the duo battles not just bureaucracy, but blizzards. It’s a strange but affecting film when the villain is terminal illness, not drug dealers, demogorgons or zombies.

Ordinary Angels is now streaming on Peacock.

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Release Date

February 23, 2024

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Runtime

118 Minutes

Director

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Jon Gunn

Writers

Meg Tilly, Kelly Fremon Craig

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Prime Video already has a stacked sci-fi library, but among heavyweights like The Man in the High Castle and The Expanse, there’s an overlooked series that packs its own punch. Traditionally, the genre tells far-reaching tales of how technology alters humankind, but Night Sky takes a surprisingly grounded approach. Set in a small town in Illinois where little ever seems to happen, the series centers on two people whom audiences would least expect to be guarding something extraordinary within their own home. Yet, the story is less about spectacle and more about what it means to carry something that vast so quietly. Despite being short-lived, Night Sky is a hidden sci-fi gem that deserves the utmost recognition.

What is ‘Night Sky’ About?

Night Sky introduces a couple in their 70s living in rural Farnsworth, Illinois; Franklin York (J. K. Simmons) is a hard-headed former woodworker, and Irene York (Sissy Spacek) is a retired English teacher who suffers from a serious illness and often uses a wheelchair. Married for more than 50 years, they seem like any other elderly couple living in a house that has grown too big for them. However, beneath their outdoor shed is a hidden chamber that can teleport them to a strange, deserted planet. There, they retreat to a protected, refurbished room where they gaze out at the galaxy through a massive window.

The couple keeps the chamber’s existence a secret, especially from their obnoxiously nosy neighbor, Byron (Adam Bartley), but it’s soon revealed that the Yorks aren’t the only ones who have a chamber on their property. All the way in Argentina, single mother Stella (Julieta Zylberberg) has one as well, which she protects with her life, unbeknownst to her teenage daughter, Toni (Rocío Hernández). When Stella learns of a mysterious man on the run, presumably using these same chambers to teleport himself, Stella and the Yorks eventually cross paths during a dangerous manhunt.

‘Night Sky’ Puts Veteran Actors at the Center of the Sci-Fi Genre

Irene and Franklin are probably the last people that viewers would expect to care for a beaten-up stranger with seemingly intergalactic origins — not because they’re incapable, but because sci-fi stories like this rarely make space for characters like them in the first place. Sci-fi has long been dominated by younger, action-driven leads, often pushing veteran performers to the sidelines, but the genre has seen an increase in seasoned actors taking center stage.

What makes Night Sky special is that Spacek and Simmons’ characters don’t feel the need to fit the stereotype of being geniuses when faced with something cosmically foreign. Aside from their trips to outer space, they’re remarkably ordinary people. They’re not brilliant, not particularly tech-savvy, and easily flustered. They also face the physical limitations that come with aging and no longer have the strength they once did. Yet they also bring a genuine sense of warmth and humanity into their home — one that extends to anyone, regardless of their origins. It’s a refreshing way to ground a genre that often embraces pragmatism and hyper-rationality.

‘Night Sky’ Is a Sci-Fi Story With Deeper Themes

Image via Prime Video

Although Irene and Franklin chat and bicker daily, there is an unresolved wedge between the couple, shaped by unspoken grief. Part of Night Sky‘s overarching story revolves around a personal tragedy in their household, but more broadly, it explores how differently people process loss. As the first episode suggests, Irene and Franklin were once lively and full of energy, but as time passed — as it inevitably does — tragedy found its way in. What separates the two is not the loss itself, but how they choose to live with it. Franklin refuses to let the past anchor him, while Irene remains tethered to what was lost.

As interesting as its sci-fi premise is, Night Sky is also a story about love, loss, and perseverance — made possible by Simmons’ and Spacek’s moving performances as a married couple who’ve been through rough times together. It may lack the spectacle of more conventional sci-fi, but Night Sky finds beauty in reflection, making it Prime Video’s most underrated series you probably haven’t watched.

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Release Date

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2022 – 2022-00-00

Network

Amazon Prime Video

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Showrunner

Juan Jose Campanella

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Directors

Juan Jose Campanella

Writers

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Juan Jose Campanella

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Amazon is currently planning an elaborate reboot of the James Bond franchise, having taken over creative control from long-time custodians Barbara Broccoli and Michael G. Wilson. This is arguably one of the most valuable franchises acquired by the tech giant, which previously shelled out $1 billion for the rights to a new Lord of the Rings streaming series. That plan didn’t exactly succeed, with The Lord of the Rings: The Rings of Power struggling to retain viewers through the course of its run. The James Bond franchise, which will be re-launched with a new movie directed by Denis Villeneuve, will also expand into the world of streaming. Amazon has already experienced growing pains in the area of mega-budget, long-form espionage programming, and it would hope to not make the same mistakes with the 007 franchise.

Around the same time as it developed The Lord of the Rings series, Amazon reportedly spent $300 million on just six episodes of a globe-trotting spy thriller show, which was designed to spawn a shared universe. To spearhead the project, Amazon roped in Joe and Anthony Russo, who were coming off the record-breaking success of Avengers: Infinity War and Avengers: Endgame. What transpired in the next few years remains one of the streaming era’s most infamous stories. The show’s first season saw a behind-the-scenes conflict that resulted in it being significantly re-shot, with the original creative team making way for a new set of filmmakers. Two spin-offs followed, but after a recent managerial switch at Prime Video, it was announced that both shows had been canceled. The fate of the original “mothership” series, which returned with a second season this week, remains unclear.

Prime Video’s Mega-Budget Misfire Couldn’t Unseat ‘The Boys’

We’re talking, of course, about Citadel. Starring Priyanka Chopra, Richard Madden, Stanley Tucci, and Lesley Manville, the series borrows heavily from the James Bond and Mission: Impossible franchises. It follows operatives of the secret spy society Citadel, who must bring down their sworn enemy, a nefarious organization known as Manticore, before global catastrophes unfold. According to FlixPatrol, the second season of Citadel debuted at the number two spot on the global Prime Video viewership chart, behind the holdover hit The Boys. The second season wasn’t promoted with the gusto of Season 1, which premiered in 2023 and holds a 51% score on the aggregator website Rotten Tomatoes. Stay tuned to Collider for more updates.

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Release Date

April 28, 2023

Network

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Prime Video

Showrunner

David Weil

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Directors

Newton Thomas Sigel

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Writers

John Applebaum, Bryan Oh, David Weil

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Taylor Swift‘s legal team is pushing back on a trademark infringement lawsuit filed by Maren Flagg, a Las Vegas entertainer, claiming the pop superstar’s latest album, “The Life of a Showgirl,” infringes upon her own brand. Flagg trademarked the phrase “Confessions of a Showgirl” in 2015 and is asking the court to stop Swift from selling merchandise related to the phrase.

In response. Swift’s attorneys filed an opposition to the lawsuit, calling Flagg’s claims “absurd” while citing the First Amendment and noting the Vegas entertainer’s online behavior following the release of Swift’s album.

On May 6, Taylor Swift’s attorneys filed a brief opposing Maren Flagg’s lawsuit against the singer, in which the Las Vegas entertainer claimed trademark infringement, false designation, and unfair competition because of her 2025 album “The Life of a Showgirl.”

Swift’s side fired back, as reported by Variety, alleging that Flagg is taking advantage of Swift to “prop up her brand.” They added that Flagg comparing her cabaret show to Swift’s album was “absurd,” adding that it was highly unlikely that audiences would confuse the two entertainers. The attorneys threw shade at Flagg, saying that she “performs, if at all, in small intimate venues,” listing locations such as golf resorts, 55+ communities, cabarets, and hotels. “Her website lists no upcoming performances,” they added.

Overall, Swift’s attorneys say that Flagg’s claims are “meritless.”

The Singer’s Attorneys Question Maren Flagg’s Motive

Swift’s attorneys also questioned why Flagg, who professionally goes by the name Maren Wade, filed her lawsuit several months after the singer’s album release. “The Life of a Showgirl” was released in October 2025, and Flagg filed her lawsuit in late March 2026.

Furthermore, Swift’s counsel alleges that just days after the album’s release, Flagg “reframed her brand around the album,” posting social media content about Swift and her latest release and using it to promote her “little-known cabaret show.” “Plaintiff flooded her Instagram and TikTok pages with 40+ advertisements for her brand using Ms. Swift’s music, trademarks, and other intellectual property without permission,” the attorneys noted.

As an example, they said Flagg used Swift’s album cover and music track, even using the hashtags “#swifties,” “#ts12,” and “#thelifeofashowgirl,” among others. The attorneys implied that they may take legal action over the cabaret entertainer’s use of Swift’s images and music.

Taylor Swift’s Album Title Is Reportedly Protected

Despite the similarities between “The Life of a Showgirl” and Flagg’s brand “Confessions of a Showgirl,” Swift’s attorneys claim that the pop star’s album title is protected by the First Amendment, citing past cases with similar arguments.

They pointed out that “a plaintiff cannot establish infringement without showing the title (1) is either not artistically relevant to the underlying work; or (2) explicitly misleads as to the source or content of the work.” Moreover, they enumerated several works over the years, such as “Portrait of a Showgirl” and “Confessions of a Vegas Showgirl,” saying that Flagg didn’t launch a legal battle against any of those despite having a trademark for the phrase “Confessions of a Showgirl.”

Maren Flagg’s Legal Arguments

Shortly after filing the lawsuit, Flagg’s attorney spoke with Rolling Stone, saying that the Las Vegas entertainer built her brand around “Confessions of a Showgirl.” Flagg writes a column for Las Vegas Weekly using the phrase, and also has a podcast with the same title.

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Her lawyer, Jaymie Parkkinen, shared that Flagg has owned the “Confessions of a Showgirl” trademark since 2015. As cited in her client’s lawsuit, Swift’s trademark application for “The Life of a Showgirl” was refused due to a “likelihood of confusion.”

“We have great respect for Swift’s talent and success, but trademark law exists to ensure that creators at all levels can protect what they’ve built. That’s what this case is about,” Parkkinen explained.

There’s ‘No Chance’ Taylor Swift Fans Will Confuse Merchandise

As part of the filing, Swift’s attorneys pointed out the singer’s observant and dedicated fans, citing their “legendary” attention to detail when it comes to any and all information about their idol. “There is no chance they would be confused between plaintiff’s cabaret shows and Ms. Swift’s album and related promotional merchandise,” they noted.

Flagg’s side has responded to the filing, confirming that they have read Swift’s response. “We read it. Defendants assert First Amendment protection for napkins and hairbrushes. We look forward to filing our response next week,” Parkkinen declared.

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Blue Heron isn’t a mystery in the traditional sense. There’s no crime to solve or murderers to apprehend. Instead, it examines a family slowly coming apart and a young girl who silently takes in everything around her — especially her older brother (Edik Beddoes), who seems like a ticking time bomb ready to explode at any moment.

Sounds like a drama, right? Well, Blue Heron is that, too. It’s a lot of things: a meditation on memory, a portrait of mental illness and the power of storytelling to piece together people and events from the past.

That’s what makes it the best 2026 movie I’ve seen so far this year. Small in scope but big in the emotions it conjures up inside you, it’s a deeply personal and technically superb film about how we can never really know our own family, especially the ones that fascinate and scare us the most.

What Is ‘Blue Heron’ About?

The first half of Blue Heron is set in the 1990s, as it follows a young family as they settle into their new home in British Columbia. Through the eyes of pre-teen daughter Sasha (Eylul Guven), we realize something is off with the oldest brother, Jeremy (Beddoes). Distant and mostly silent, he’s always walking behind everyone else and disobeying mom and dad’s orders. Gradually, a more unsettling portrait emerges: Jeremy has some psychological issues that the parents have tried to address, to no avail.

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The second half of Blue Heron is set decades later, with a grown-up Sasha (Amy Zimmer) now working as a social worker. She’s still trying to solve the mystery of her brother’s behavior and understand the effect he had on her and the rest of her family. What happened to Jeremy? What caused him to act the way he did? And how did the family cope with someone who always seemed more like a stranger than a relative?

What Makes ‘Blue Heron’ 1 of 2026’s Best Movies So Far?

Writer and director Sophy Romvari answers some of these questions, but not all of them. One of the major points of Blue Heron is that some mysteries can never be fully explained, only dealt with, and that’s the case with Jeremy. All these years later, Sasha is still haunted by her brother’s behavior and how even he seemed like a prisoner in his own body.

I’ll be honest — I dreaded the moment this material would become sensationalized. We’ve seen young disturbed boys like Jeremy in mass media before, and they are almost always portrayed as villains or boogeymen who inevitably perform some kind of act of shocking violence, like a school shooting or a murder.

That’s not the case with Blue Heron, which is more interested in Jeremy’s behavior and his family’s reaction to it than in depicting what Jeremy actually does — if he does anything at all. It’s the possibility of violence that Jeremy poses, through his anti-social actions and his tossed-off threats that seem to come from nowhere, that sets everyone on edge and causes his mother and dad to seek professional help. But their therapist doesn’t really know anything either, and what they’re left with is a troubled child they love, but who could pose a danger to them and their other children.

Forgiving But Not Forgetting

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In several interviews, Romvari has confessed that many aspects of Blue Heron are autobiographical. That makes sense when you watch it, as the film’s ambiguity has the power of truth behind it. Near the end of the film, adult Sasha confronts her memory of Jeremy head-on.

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Through a sequence involving some fill-in-the-gaps narration and a simple edit, Romvari expands our knowledge of him and gives him a moment of grace and forgiveness. There’s more to Jeremy than Sasha, or the audience, will ever know, but what’s left behind is a portrait of a son, brother and boy who was just as much a victim of his own behavior as his family was.

Blue Heron is playing in theaters right now.