Some of Hollywood’s greatest movies have been so good that they’ve welcomed the invitation of furthering the story or characters through more films. But overcoming the sequel curse is not always easy. Then, those who do triumph get the rare opportunity to expand into a trilogy, forging a legacy in the process. We’re here to celebrate ten of the greatest trilogies, each amazing from start to finish.

Whether cohesive trilogies or three films that make up a thematic trilogy, these are some of the best of the best. From three-part adaptations of classic novels to reboots of beloved franchises, from newfound science fiction adventures to superhero blockbusters, these trilogies have had a massive impact on cinema and pop culture as a whole. How many have you seen and which will you be watching this weekend?

‘Avatar’ Trilogy

Image via 20th Century Studios

Passion projects can either result in a complete masterpiece or become a devastating pretentious pet piece. Fortunately for James Cameron, his dream film was the former. It was so good, it launched a franchise. Now three films deep, Avatar was a game-changing cinematic wonder. The trilogy follows former Marine Jake Sully (Sam Worthington) and his Na’vi family as they protect the lush moon of Pandora from a colonizing human megacorporation. The epic sci-fi story explores themes of environmentalism, indigenous survival, and family unity across different Pandoran ecosystems. A masterpiece in movie technology and expansive world-building, Avatar transported audiences to an unmatched, immersive experience that pushed the boundaries of visual storytelling.

Though some call the first film’s story derivative, the old-fashioned storytelling style made the science fiction themes more accessible. By allowing an easy narrative to take precedence, it ensures the dazzling visuals remain at the forefront. Pandora is a mesmerizing world that one might think is only attainable by imagination, but thanks to Disney, we can visit the wondrous locale. It’s part of why the allure of the second and third films was there. The trilogy’s expansive lore and mythology of Pandora is the franchise’s greatest asset. Introducing new factions like the ocean-dwelling Metkayina clan and the fire-wielding Ash People gives further color to the story. At its core, the trilogy is about family. As your journey with Jake and Neytiri (Zoe Saldaña) unfolds, we watch them fight to protect their children, who then have their own coming-of-age tales. The emotional core of the story matures through each film, anchoring the heavy CGI in raw human emotion. Avatar is a rewarding franchise the more it evolves.

‘Back to the Future’ Trilogy

Image via Universal Pictures

What could have become a hokey science-fiction comedy evolved into an iconic trilogy that helped define the ‘80s. Created by Robert Zemeckis and Bob Gale, the Back to the Future trilogy follows teenager Marty McFly (Michael J. Fox) and eccentric scientist Dr. Emmett “Doc” Brown (Christopher Lloyd), who use a modified DeLorean time machine to travel through different eras—the past, present, and future—to fix fractured timelines and ensure their own existence. Seamlessly balances high-concept time travel with effortless storytelling, unforgettable character chemistry, and brilliant, interlocking scripts. Back to the Future is a nostalgia-driven adventure that made sci-fi family-friendly. Back to the Future is wholesome entertainment with universal themes, ranging from family to destiny and the generation gap in between.

Time travel tales are often bogged down by complicated paradoxes, overly complicated plot points, and nonsensical decisions. Not in Back to the Future. By keeping things simple, the franchise allows the adventure to remain the prime focus. The first film is one of the most intricately constructed scripts in which tiny details or throwaway lines in the beginning pay off by the end. It was with that care that audiences were eager to see Matty and Doc went next. From a dark reality present to the Old West, no matter where the journey headed, it was handled with care. One might believe the heart of rock and roll was the soul of the franchise, but it was actually the ever-growing chemistry of its two leads. Fox and Lloyd are simply irreplaceable. They may be three individual films, but together, they create the perfect trilogy.

Cornetto Trilogy

Image via Rogue Pictures

Call it the Cornetto Trilogy or Three Flavours Cornetto or the Blood and Ice Cream Trilogy, but whatever you refer to it as, you know it’s absolutely amazing. The brainchild of director Edgar Wright and star Simon Pegg, the three British comedies defined funny at the dawn of the 21st century. Comprised of three films that do not share a connected storyline or universe, the trilogy functions as thematic companions. Shaun of the Dead, a zombie horror comedy, Hot Fuzz, a buddy cop action flick, and The World’s End, a sci-fi alien invasion film, combined to reinvent the faces and humor of the future. They work as three standalone films, but they share razor-sharp visual comedy, emotional depth, and brilliant continuity, all thanks to the different flavors of Cornetto ice cream.

Each movie takes viewers on unique adventures across three distinct genres, all led by Pegg, Nick Frost, and a rotating cast of core stars, including Bill Nighy, Martin Freeman, and Paddy Considine. Under the watchful eye of Wright, driving the action, he uses kinetic, rapid-fire editing, creative transitions, and visual foreshadowing that make every frame monumental. It’s so smart, the trilogy is a rare form of rewarding rewatchability. In case you didn’t know, the Cornetto color reflects the story: Strawberry or red for gore and zombies, Classico or blue for cops, and Mint or green for aliens. The trilogy may not always be in the conversation with the great trilogies because it consists of three separate films. It’s unfair because they work just as well. Watch in release order or completely random; they are amazing in any way you choose. Just pair it with some ice cream.

Iron Man Trilogy

Image via Marvel Studios

The truth is, had the first Iron Man film not been a blockbuster success, the subsequent films would never have come to fruition. The Marvel Cinematic Universe wouldn’t have even been a thing. But thanks to the brilliance of the three films under the Iron Man umbrella, the future of the superhero genre changed forever. The Iron Man trilogy follows the evolution of Tony Stark (Robert Downey Jr.), a billionaire industrialist who transforms from a self-absorbed arms dealer into the heroic armored Avenger, Iron Man. Throughout the series, he battles a range of high-tech villains, struggles with personal trauma rooted in his actions, and learns that his true power comes from his ingenuity rather than his suits. Perhaps the greatest arc of any superhero in cinema, the three Iron Man films are action-packed adventures that perfectly pair the actor with the hero.

One of the most remarkable parts of the greater MCU is just how beloved Iron Man became thanks to Downey Jr. Before the trilogy, the fan-favorite Marvel character in the larger IP tended to be Spider-Man, the X-Men, or Captain America. Then Downey Jr. arrived, an actor looking for his own redemption, eased into a character searching for the same. It’s a pitch-perfect performance that flourishes in each subsequent solo film. From his start as an arrogant, self-centered billionaire, his experience makes him a deeply responsible and selfless hero. He becomes an inspiration and a role model. The Iron Man trilogy thrives thanks to the supporting characters, including Happy Hogan (Jon Favreau) and Pepper Potts (Gwyneth Paltrow), and its iconic villains, namely Obadiah Stane (Jeff Bridges), Justin Hammer (Sam Rockwell), and Aldrich Killian (Guy Pearce), among others. Iron Man became the blueprint that launched the MCU and every solo hero under its umbrella.

Original ‘Star Wars’ Trilogy

Image via 20th Century Studios

The Star Wars franchise would not be as vast and expansive as it is today had it not been for the original trilogy of films. The fourth, fifth, and sixth parts of the overall Skywalker Saga, the original Star Wars, were a game-changing pop culture phenomenon that made space operas not only cool, but the gold standard in science fiction storytelling. Brought to life by the visionary George Lucas, Star Wars takes audiences to a galaxy far, far away, where the Rebel Alliance fights to overthrow the tyrannical Galactic Empire. At its core, it is a coming-of-age story and a tale of redemption centered on farm boy Luke Skywalker (Mark Hamill) as he learns the mystical ways of the Jedi to confront the Sith Lord Darth Vader (James Earl Jones). A cinematic masterpiece, the original Star Wars trilogy is flawless in execution thanks to its character-driven narratives, groundbreaking cinema technology, and one of the greatest villain evolutions.

With three Star Wars trilogies in existence, three different generations were each given a chance to experience their trilogy in theaters as their first. Those of us born to the prequel or sequel trilogy are jealous of those who were alive during A New Hope, The Empire Strikes Back, and Return of the Jedi. Together, they provide the ultimate hero’s journey: a farm boy dreaming of greatness who faces devastating failure and identity-shattering truths only to return as a true Jedi to redeem his father. Along the way, Star Wars introduces a plethora of iconic characters, including Han Solo (Harrison Ford), Princess Leia (Carrie Fisher), Obi-Wan Kenobi (Alec Guinness), and Yoda (Frank Oz). Through their witty banter, evolving romances, and loyal friendships, the fantastical universe is grounded in genuine heart. Star Wars was an innovator in tangible, practical effects. Paired with incredible original sound design and an iconic score by John Williams, Star Wars was a world we loved to watch grow. A foundational pillar of pop culture, Star Wars revolutionized the movie trilogy forever. ​​​​​​​

The Before Trilogy

Image via Sony Pictures Classics

Not every great trilogy must be rooted in sci-fi, action, or crime. Some are all about romance. Such is the case for Richard Linklater’s Before Trilogy. The critically acclaimed series follows the evolving relationship of Jesse (Ethan Hawke) and Céline (Julie Delpy) over 18 years. In Before Sunrise, a young American man, Jesse, and a French woman, Céline, meet on a train in Vienna and impulsively decide to spend one night walking, exploring, and talking. They part ways the next morning, promising to meet again. In Before Sunset, set nine years later in Paris, Jesse is on a book tour, and the two unexpectedly reunite. They discuss missed opportunities and grapple with the lingering romantic tension of their first encounter. In Before Midnight, set another nine years later, this time in Greece, Jesse and Céline are a long-term, unmarried couple on vacation with twin daughters. They explore the gritty realities, sacrifices, and conflicts of domestic and parental life. famous for being shot and released in nine-year intervals, the Before Trilogy is an intimate romance that captures a real-time, honest relationship.

The Before Trilogy is raw brilliance that strips away artificial movie tropes in favor of brilliant, deeply authentic conversations. Linklater drives the narratives through naturalistic walk-and-talk conversations about love, philosophy, and life, making viewers feel like they are eavesdropping on a real couple. Just as you’re watching two elite actors grow and age on screen. Hawke and Delpy are mesmerizing in their parts. They are the heart and soul of the trilogy. Each film approaches the relationship through different lenses. From the fantasy and magic of a new connection to missed opportunities through the gritty, tiring, and beautiful reality of long-term intimacy. It’s truly a sweet and beautiful thing. The Before Trilogy chronicles high-intensity intimacy as no other film series has ever done.

‘The Dark Knight’ Trilogy

Image via Warner Bros.

There were four Batman films in the late ‘80s and ‘90s that gave us the chance to see the Caped Crusader on the big screen. But when the fourth film, starring the third actor, flopped, it seemed the experiment was over. Then Christopher Nolan swooped in and recalibrated Bruce Wayne as The Dark Knight, giving us the definitive iteration for the 21st century. The Dark Knight trilogy offers a gritty, realistic reimagining of the DC Comics superhero, following billionaire Bruce Wayne (Christian Bale) as he transforms into a symbol of hope, descends into the shadows, and ultimately redeems himself. The Dark Knight trilogy takes the DC comic tropes and strips them bare, providing three distinct films that ground Gotham City in a colossal crime empire where its only hope is a hero with no superpowers, but intellect, elite training, and sheer willpower.

Across the three films—Batman Begins, The Dark Knight, and The Dark Knight Rises—Nolan crafts a visionary narrative that ultimately becomes a deeply personal saga in which the titular character channels trauma into a journey toward heroism. Rather than tackling the heavy battles of gods and aliens, most superhero films explore The Dark Knight trilogy, which revolves around morality, corruption, and the friction between the law and vigilantism as three crime thrillers. The trilogy is greatly helped by the cavalcade of villains who pass through the films, including Ra’s al Ghul (Liam Neeson), Scarecrow (Cillian Murphy), Bane (Tom Hardy), and, of course, the Joker (Heath Ledger). Nolan single-handedly elevated the superhero genre through his groundbreaking filmmaking, demanding practical effects and realistic stunts wherever possible, creating a jaw-dropping, visceral experience. It’s going to take a lot for any Batman trilogy to top the brilliance of The Dark Knight. ​​​​​​​

‘The Godfather’ Trilogy

Image via Paramount Pictures

There are very few films considered definitive cinema quite like The Godfather trilogy. Directed by Francis Ford Coppola and based on the novel by Mario Puzo, the epic Shakespearean-like tragedy traces the rise, corruption, and slow decay of the Corleone crime family. At its core, the saga examines the cost of absolute power, the illusion of the American Dream, and how the pursuit of safety can ultimately destroy the very family one tries to protect. Chronicling the Corleone clan from the 1900s through the ‘80s, The Godfather trilogy became the blueprint for mafia movies forever. There used to be stereotypes about gangster films. These films transcended the standard, offering a truly powerful and enduring narrative.

The films use the mafia as a framework to explore the destructive nature of ambition and wealth beyond the bloodshed and murder. Right from the start, “I believe in America,” set the tone, subverting the ideals of the American Dream. Within, the film comments richly on immigration, loyalty, betrayal, and how absolute power ultimately devours a man. Al Pacino’s Michael Corleone is one of the most fascinating and chilling characters in cinema history. It’s all thanks to Pacino’s mesmerizing performance. Save perhaps the MCU, no film franchise has boasted a brilliant elite ensemble quite like The Godfather. Alongside Pacino, you get to watch the likes of Diane Keaton, Marlon Brandon, Robert De Niro, James Caan, Sofia Coppola, Andy Garcia, Bridget Fonda, among others. With seamless storytelling and extraordinary cinematography, The Godfather trilogy is the epitome of great filmmaking.

‘The Lord of the Rings’ Trilogy

Image via New Line Cinema

There is no other high fantasy epic that will ever achieve the highest acclaim that The Lord of the Rings found. Lifted from J.R.R. Tolkien’s beloved novel, the Peter Jackson-directed films follows the hobbit Frodo Baggins (Elijah Wood) on a quest to destroy the One Ring—a corrupting artifact of the Dark Lord Sauron. Accompanied by a loyal fellowship, Frodo must navigate the treacherous lands of Middle-earth to cast the ring into the fires of Mount Doom. Broken into three larger-than-life films—The Fellowship of the Rings, The Two Towers, and The Return of the King—the trilogy pairs immense passion and meticulous craftsmanship with timeless storytelling for a celebration of a brilliant visionary.

The story was an enthralling adventure that pushed the trilogy storytelling device. They can be individual tales, but they are truly three films that tell one epic story. The films are rooted richly in humanity through the universal themes of friendship, hope, loyalty, duty, and sacrifice. The audience may be watching elves, dwarves, and hobbits, but through their actions, they are as profoundly human. Epic fantasy may not be everyone’s cup of tea, but you simply cannot deny how captivating the scope that the film presented. Jackson’s timeless visuals gave the trilogy a historically grounded Middle-earth we all wished we could visit. Jackson captured the source material with ease. Perhaps the most important element of filmmaking was shooting all three films back-to-back, allowing the arc to be cohesive like one grand film. With so many awards to its name, The Lord of the Rings trilogy is the blueprint for greatness.

‘The Planet of the Apes’ Trilogy

Image via 20th Century Studios

In 1968, the very first film adaptation of Planet of the Apes rocked the world, establishing a distinct visual style for the franchise. Through a series of sequels, there was a fascination and adoration for the sci-fi world depicted in the films. Then, in 2001, Tim Burton took his turn at reviving the franchise, and unfortunately, it was botched on arrival. Ten years later, a brand-new interpretation arrived through quite a daring risk: the apes were not humanoid beings; they were actual apes. With the aid of impeccable CGI, it became the recipe for success, giving birth to the definitive trilogy of the franchise. In the reboot trilogy, the epic sci-fi saga explores the dawn of a new intelligent ape civilization. It tells the story of Caesar (Andy Serkis), a genetically evolved chimpanzee, who transitions from a captive pet to a revolutionary leader who guides his species to freedom as humanity collapses. A profound, character-driven story, the trilogy captured the allure of the original while giving it a dynamic, fresh perspective that made the apes nuanced, emotional beings.

Consisting of Rise of the Planet of the Apes, Dawn of the Planet of the Apes, and War for the Planet of the Apes, the saga masterfully balanced groundbreaking CGI with a deeply moving story. Caesar’s emotional journey was crucial to its brilliance. Using his evolution from a curious lab subject to a mythic leader allowed the narrative to explore themes of family, morality, and the clash of civilizations. Before, the apes were gimmicks. Here, the trilogy presented both the apes and humans with deeply flawed, understandable motivations. The ensuing conflict stemmed from tragic misunderstandings and survival instincts rather than black-and-white good-vs.-evil tropes. There was brilliant evolution in the story. The first film tackled a grounded, scientific origin story. The second took on the fragility of peace and political betrayal. The conclusion was a sweeping epic of biblical proportions. With Serkis anchoring the projects with advanced motion-capture technology, you get to see authentic, nuanced emotional performances from the apes who convey pain and empathy without uttering a single word. The reboot trilogy is more than just a spectacle; it’s a cinematic revolution.

The U.S. Men’s National Team is moving on to the knockout rounds of the 2026 FIFA World Cup, and head coach Mauricio Pochettino thinks the media has forgotten about the accomplishment.

Pochettino, 54, unloaded on reporters after the U.S. lost to Turkiye, 3-2, on Thursday, June 25, in a group stage match that was ultimately meaningless because Turkiye had already been eliminated and the U.S. had already won its group.

“The mood is like we [are going] home tonight and Türkiye is staying,” he said after the match. “I need to [remind] you and everyone that we won the group. Sorry guys, we won.”

The United States won its first two matches in group stage play, clinching first place and a spot in the knockout stage before ever taking the pitch against Turkiye. As a result, Pochettino rested many of his key players to preserve them for the do-or-die matches to come. He also wanted to keep some starters off the pitch to prevent them from picking up another yellow card in a meaningless game.

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He was asked if doing so was worth missing the opportunity to become the first U.S. men’s team ever to win all three group games at the World Cup.

“Making history is winning the World Cup,” Pochettino replied. “It’s not winning three matches only within the World Cup. I don’t really understand. It’s a little bit petty if you will — you’re thinking a little too small. You’re telling me you could make history — what does it mean to win three matches if you lose the next one?”

Pochettino was also asked if the surprising loss to Turkiye would carry over into the next match.

“What would you like me to tell you?” he asked. “Whatever I tell you, it’s not going to convince you. A newspaper is going to write whatever they think or whatever they want. But honestly speaking, I go back to [this]: We qualified as No. 1 and we’re going to the next round.”

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“Winning this game or not winning this game is not going to change [my mood],” Pochettino concluded. “The objective is to finish first. And we are first. And now is the next stage. We are ready.”

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Next up, the United States will face Bosnia and Herzegovina in the Round of 32, scheduled for Wednesday, July 1 in Santa Clara, California.

While the U.S. coach seems to be fending off reporters questioning a loss in a match that didn’t matter, Bosnia’s coach Sergej Barbarez said his team is just happy to be there.

“All of this is a bonus for us,” he said when asked about playing the U.S. on its home soil. “We will be extremely relieved, and we will try to take on any team that comes our way. We are confident enough to face anyone.”

The Bravo community is mourning the loss of one of its own. Andy Cohen became visibly emotional during Thursday night’s episode of “Watch What Happens Live” as he paid tribute to former production manager Kyra Samson, who died this week after battling glioblastoma, an aggressive form of brain cancer. She was 28 years old.

The television host struggled to get through the announcement, remembering Samson not only as a valued member of the production team but as someone whose warmth and determination left a lasting impression on everyone who worked alongside her.

Cohen shared the heartbreaking news at the start of the episode, revealing that Samson passed away on Tuesday after a months-long fight against brain cancer.

While reflecting on her time with the show, Cohen remembered Samson’s unique ability to balance kindness with leadership, joking that despite her gentle personality, she had no trouble taking charge when the moment called for it.

The emotional tribute ended with Cohen sending his love to Samson’s family and friends before a photo of the two appeared on screen. The moment quickly resonated with viewers, many of whom took to social media to share messages of support and condolences.

A Devastating Diagnosis At Just 27

According to The Kyra Fund, Samson was diagnosed with glioblastoma multiforme at age 27. Glioblastoma is considered one of the most aggressive forms of brain cancer and remains one of the most difficult cancers to treat. Despite the diagnosis, those closest to Samson say she approached every challenge with extraordinary resilience.

“Kyra pursued treatment options with unwavering determination while prioritizing what mattered most to her: time with loved ones, laughter with friends, music, consuming popular culture, and creating beautiful memories,” the official website reads.

The organization established in her honor describes her as someone who faced her illness with “courage, bravery, grit, strength, and authenticity.” The fund now aims to support research efforts focused on developing new treatments and advancing immunotherapy options for patients facing similar diagnoses.

“In partnership with the Glioblastoma Research Organization (GBMRO), The Kyra Fund will support urgently needed research for individuals with glioblastomas,” the official website states. “Glioblastoma remains one of the deadliest cancers, with limited treatment options and far too few breakthroughs. Through this partnership, donations made in Kyra’s honor will help accelerate promising research with the goal of ultimately finding a cure for this devastating illness. We hope this fund will help future Kyras.”

Her Father, David Samson, Shares Heartbreaking Message

Samson’s father, former Miami Marlins president and MLB analyst David Samson, announced her passing in an emotional social media post on Wednesday. He revealed that his daughter fought the disease for nine months and 11 days before passing away peacefully.

Describing the loss as unimaginable, David reflected on the strength Kyra displayed throughout her illness and the profound impact she had on those around her. He also encouraged supporters to donate to The Kyra Fund, explaining that all contributions will go toward glioblastoma research in hopes of helping future patients and families.

‘The Hole In Our Family Is Unthinkable’

In comments shared with The Athletic, David opened up further about the devastating reality of losing his daughter. “The hole in our family is unthinkable,” he said. “I don’t know how to fill it.” He also vowed to continue speaking publicly about Kyra’s story and advocating for brain cancer research.

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According to David, honoring his daughter’s legacy means ensuring that others understand both the severity of glioblastoma and the urgent need for better treatment options. Rather than allowing her story to end with tragedy, he hopes her battle will inspire meaningful progress for future generations facing the disease.

Best Friend Shares Heartbreaking Tribute Following Kyra Samson’s Death

Kyra’s best friend, Katherine, also took to social media to pay tribute, writing, “My best friend, Kyra Samson, passed away yesterday, peacefully and surrounded by a lot of love.”

She added, “Which is an insane thing to say because she was 28 and last summer she was perfectly and completely fine as she drove around the Sony lot after work with me and we laughed, and yapped, and couldn’t believe how lucky we were to be working together again, on a studio lot where they shot ‘The Wizard of Oz.’”

Kyra and Katherine met while working on “WWHL,” and they “bonded instantly.” Katherine said they shared the same Bravo opinions, production ideas, a childhood love of the Jonas Brothers, and a current love of Adele, and, most importantly, shared time.

Now, through The Kyra Fund and the memories shared by friends, family, and colleagues, those closest to Samson hope her legacy will continue to make a difference long after her death.

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Anime‘s popularity is at an all-time high right now, thanks to the medium’s creative stories and phenomenal animation. While newer shows like Frieren: Beyond Journey’s End and Jujutsu Kaisen continue to push the bounds of storytelling in the medium, fans shouldn’t forget where these narratives stem from. Around 70% of all anime shows are adapted from manga comics, whether that be shounen, shoujo, seinen, or josei. The world of manga is much more vast than that of anime, consisting of series even better than their adaptations, since the artist can pour as much passion and detail into their art and story. One such case is One Piece, which is currently the biggest manga. Following Monkey D. Luffy on his quest to become King of the Pirates, he must first make a name for himself and establish a crew, which he does by picking fights with whoever he doesn’t like, from other pirates to the Marines and the world government. One Piece‘s popularity and acclaim are widespread, with many considering it the best manga of all time.

One Piece may be the most popular manga ever, and it is indeed one of the greatest. However, even though it has the best worldbuilding, eccentric characters, palpable emotion, and political intrigue, it is not the greatest manga of all time. Even if it isn’t the best, there aren’t many other series better than it, which is why this list will highlight the only three manga better than One Piece. Based on aspects such as writing, art, originality, staying power, characters, worldbuilding, popularity, fan opinion, critical acclaim, and overall quality, these three manga series can be considered the best of the best. Note that this list only includes shounen and seinen manga series because it is too hard to compare a long-running battle shounen to the best shoujo and josei manga. Viewers might be the biggest diehard One Piece fans or its greatest haters, but either way, they have to admit that these three manga sensations are some of the best of the best.

‘JoJo’s Bizarre Adventure’ (1986-present)

Image via Ultra Jump

Starting in 1997 and still going today, there aren’t many manga series that run longer than One Piece, especially weekly shounen manga. It may have shifted from weekly to monthly and adopted the seinen demographic now, but JoJo’s Bizarre Adventure has been going on since 1986. Created by Hirohiko Araki, this manga series is split up into distinct parts, each one following a different protagonist of the Joestar lineage and placed in a new setting. From the very first part, Phantom Blood, fans are introduced to Jonathan Joestar and his adopted brother, Dio Brando. After a rocky start to their relationship, Dio discovers a mask that gives him the power of a vampire, which he uses to kill their father and attempt to steal his wealth. Thus started a never-ending battle between Dio and the Joestar family. Future parts take fans all over the globe, from trying to find a serial killer in a quaint Japanese town to going on a horse race across the United States of America to kill the president. No matter who the protagonist is or where they are, fans are sure to have a wild ride.

One Piece and JoJo’s Bizarre Adventure are two completely different stories. The former is a massive, interconnected web of worldbuilding, political drama, ancient lore, emotional storytelling, and expansive themes, whereas the latter is a chopped-up chronicle of a family and the bizarreness of their travels, filled with suspenseful action and overly dramatic moments. One common thread between these manga is the sense of adventure, for which they both excel. However, since JoJo’s Bizarre Adventure doesn’t stay in one place too long, unlike One Piece, it can evoke that feeling even better, taking fans to more distinct locations. Even modern JoJo manga are flawless, maintaining the series’ appeal while introducing new things to love. One Piece, on the other hand, has drawn out events that have lost their intrigue. JoJo’s Bizarre Adventure also has one of the best art styles in manga history, boasting an elegant and beautiful design that captivates viewers. This manga has kept engagement and viewership up because it chops up its story into parts, proving variety is the spice of life by introducing new characters, villains, plotlines, and weirdness. JoJo’s Bizarre Adventure also has one of the best anime series of all time, proving that better pacing, more consistent animation, and creativity are what fans want.

‘Vagabond’ (1998-2015)

Some manga never seem to end, like One Piece, and other manga, unfortunately, don’t ever get their ending, such as Vagabond. Takehiko Inoue, one of the most proficient manga authors, delivers this stunning dramatization of history’s most famous samurai, Miyamoto Musashi. Sadly, the author grew tired of the story before he finished it, meaning it ended right at the climax. However, fans can read the historical novel Musashi, which the manga was based on, for the actual ending. As kids, Takezo and Matahachi always dreamt of becoming respected warriors, but after choosing the losing side of the Battle of Sekigahara, their paths separated. Takezo takes up the name Musashi and embarks on a quest to become the strongest under the sun, challenging dojos and other warriors to test his strength. Matahachi, on the other hand, wandered aimlessly, seeking false fame.

A common trend with all of these manga is that they never end, whether that be because of an unfinished finale, a never-ending hiatus, or a sprawling story. But Vagabond is the closest out of these options to a finale just because it is based on a finished novel. Vagabond is on another level when it comes to visuals, boasting some of the greatest art ever seen in manga and blowing One Piece out of the water. Maybe that is an unfair comparison, but Vagabond also displays much more narrative consistency and developed characters. Instead of introducing new characters and their stories as well as more islands with political ties, Vagabond solely focuses on its handful of characters, using the events to develop them. The philosophical journey is both intriguing and compelling, having an enlightening plot that can be action-packed and entertaining at times. Vagabond transcends storytelling and art, becoming a life lesson that boasts motivational and self-reflective themes that helped it become one of the greatest seinen manga series ever.

‘Berserk’ (1989-present)

Image via Hakusensha

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Many fans say there are countless manga better than One Piece, and others who say there aren’t, but if there is one thing they can agree on, it is that Berserk is the most critically acclaimed and influential manga series. Written by the late Kentaro Miura, this historic series has suffered many hiatuses and was taken over by Miura’s friend and acclaimed manga author Kouji Mori. In a dark fantasy world, Guts was born from a corpse and taken in by a band of mercenaries. However, his misfortune continued, with his group constantly abusing him to the point where he had to escape. Doing whatever it took to survive, Guts ended up with the Band of the Hawk, where he could truly say he belonged. That is, until a sudden betrayal destroyed the group, killing most of the members and leaving only him and a few others alive. Now fueled by revenge, Guts travels through the world killing apostles that will lead him to the man who took everything from him.

Simply put, Berserk is the greatest manga of all time, and almost every fan will agree, even if it isn’t their personal favorite. Just from the art alone, Berserk is a masterclass of visual storytelling that thrives with its detailed drawings of epic proportions, creating an almost painterly style aesthetic alongside its dark and gritty vibe. One Piece and Berserk don’t share many similarities, but in terms of art, pacing, consistency, characters, and narrative, the latter is far superior. The connection between Guts and Griffith is one of the best dynamics in manga history, each having unique goals and motivations that are influenced by the other, but also clash, changing their destinies forever. Berserk is a masterful study of trauma, grief, and revenge, and its story reflects it, delivering a much more concise narrative with fewer flaws than One Piece. Almost Shakespearean, this manga is a definitive dark fantasy that unravels a tragic bond between characters set in a fascinating and bleak world. One Piece is a shounen and more battle-focused, so it is only natural that the writing would be worse. Both manga are still ongoing, and with the Berserk manga recently returning, fans wonder which series will end first.

Brooks Nader has been everywhere lately. Between filming the Baywatch reboot, starring in Hulu’s Love Thy Nader and turning up on every other red carpet, the model has built a reputation for skin that looks lit from within at all hours. Her secret? A little bottle of SPF setting spray that she calls a game-changer. Right now, the celeb-favorite is marked down 25% for Amazon Prime Day, which ends June 26, so now is the time to stock up.

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Related: Hilary Duff Uses the Blush Balm That Shoppers Call a ‘Game-Changer’

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Related: Jessica Chastain’s Go-To Sunscreen Is Practically Invisible on Skin

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Medical dramas will stay having a moment, but not because every new series is trying to replicate The Pitt. HBO Max’s breakout hit earned widespread acclaim by grounding every emergency, conversation, and difficult decision in a level of realism rarely seen in the genre. Netflix’s The Trauma Code: Heroes on Call, however, succeeds by moving in the opposite direction. Instead of asking what an emergency room actually looks like, it asks what happens when hospital drama collides with an action blockbuster.

This bold gamble on creativity has been rewarded with success. Since its launch in January 2025, the South Korean series has achieved great international success, becoming one of Netflix’s most successful titles and sparking considerable buzz about possible future episodes. More significantly, this illustrates that the revival of the medical drama genre has always been driven by something other than viewers’ desire for more realism.

‘The Trauma Code’ Turns Emergency Medicine Into an Action Spectacle

Image via Netflix

Where The Pitt builds tension through long shifts, impossible staffing shortages, and emotionally exhausting patient care, The Trauma Code: Heroes on Call operates at full speed almost immediately. Its central figure, trauma surgeon Baek Kang-hyuk (Ju Ji-hoon), is introduced as he delivers medical supplies through an active war zone before arriving at a struggling university hospital ready to overhaul an entire trauma department.

The heightened approach defines virtually every episode. In addition, the series isn’t limited to standard emergency cases; it includes helicopter rescues, mid-air surgery, dangerous multi-car accidents, battlefield injuries, and rescue operations that could very well have been lifted straight from an action film rather than from typical hospital-based procedural shows. Each time a new patient comes into the ER, they have some of the most unrealistic scenarios imaginable. This requires the cast to make quick decisions, contributing to the show’s rapid pace throughout an episode.

On paper, that sounds like exactly the kind of excess that would undermine a medical drama. After all, The Pitt has been celebrated precisely because it avoids sensationalism; yet The Trauma Code understands that spectacle only works if viewers remain invested in the people performing it. The elaborate rescues are exciting, but they’re ultimately a vehicle for highlighting the confidence, skill, and determination of the doctors at their center.

The Series Finds Its Heart Beyond the Chaos

Image via Netflix

The explosive emergencies may grab viewers’ attention, but they aren’t what keep the series engaging across all eight episodes. Just like the top workplace dramas, The Trauma Code shifted its focus from hospitals to the relationships within them. When Baek first appears, he is portrayed as nothing more than an extremely arrogant man who walks around like a bulldozer, constantly running over anyone and everything that he sees as being in his way. As time passes, though, he begins to show that he actually has a purpose for what he is doing. It’s not all about him, but rather about the way he believes patients suffering from traumatic injuries deserve better than the system they use for help, which is underfunded and inefficient.

The most interesting part of Baek’s mission, however, is his relationship with Yang Jae-won (Choo Young Woo), a talented colorectal surgery fellow who unexpectedly becomes Baek’s protégé. Their mentor-protégé relationship forms an emotional backbone of much of The Trauma Code, as Jae-won tries to figure out whether he truly wants to pursue trauma medicine. There are many personalities in the hospital around Baek and Jae-won, too: rivalries between departments, supportive nurses, skeptical administrators, and workplace politics. Each of these personalities contributes to the hospital’s personality and, therefore, creates additional emotional ramifications for each emergency situation beyond just saving another patient.

The show also wisely injects humor throughout its heavier moments. Rather than allowing constant life-or-death situations to become emotionally exhausting, it mixes sharp workplace comedy with its medical set pieces, creating an energetic tone without becoming overwhelmingly bleak.

Netflix’s Hit Proves Medical Dramas Don’t Need To Choose One Formula

Image via Netflix

The biggest takeaway from The Trauma Code‘s success is that audiences have embraced two completely different visions of what modern medical television can be. The Pitt, for instance, demonstrated there’s still enormous demand for grounded, realistic storytelling built around procedural authenticity and emotional restraint. The Trauma Code, meanwhile, shows there’s just as much room for a version that treats trauma surgery like a blockbuster event, prioritizing momentum, spectacle, and larger-than-life heroics without abandoning the emotional investment that defines the genre.

Its performance on Netflix supports that conclusion. The series quickly climbed the streamer’s global non-English rankings, reached No. 1 shortly after release, remained in the Top 10 for weeks, and generated enough enthusiasm that reports of additional seasons have continued circulating, even as Netflix has remained cautious about officially confirming future installments. That sustained demand suggests viewers aren’t simply chasing the next The Pitt. They’re looking for medical dramas that make them feel something, whether that’s through painstaking realism or pulse-pounding excitement.

For years, television seemed convinced there was only one path forward for hospital dramas. Either they leaned into soap opera romance or doubled down on gritty realism. The Trauma Code: Heroes on Call argues there’s another option entirely. It embraces the impossible rescues, surgeries, and heroics that many modern dramas have moved away from, and grounds them just enough in compelling characters, and it keeps folks tuned in.

By Robert Scucci
| Published 4 seconds ago

The biggest emotional rollercoaster I’ve been on in a minute centers on 2016’s The Girl on the Train. For one thing, I have my reservations about psychological thrillers with titles that are just a little too on the nose, like Domestic Disturbance or The Woman in Cabin 10. Still, the synopsis sounded solid, so when I saw it on Netflix, I figured I’d give it a go. Within three minutes I hated The Girl on the Train. Against my better judgment, I pressed forward, willing to give it a chance, and suddenly everything clicked.

The Girl on the Train is a tough film to assess because it’s adequately acted, shot well, expertly paced, and has more twists than you can reasonably imagine. However, for all of that to work, we have to sit through a first act that’s heavy on exposition dumps in the form of voiceover narration that makes you think, “Literally nobody talks like that.”

Then again, this is an adaptation of Paula Hawkins’ 2015 novel of the same name, and that’s exactly what those narrations sound like. They’ll take you out of the movie for a minute, but then they get out of the way. By the time you reach the third act, you’ll realize this setup was absolutely necessary, and honestly, I can’t think of a better way to do it.

At least to me, this movie is pretty rough until its characters are established. But once they’re let loose and the story develops, it becomes one of the best thrillers I’ve seen in recent memory as far as the mystery goes.

A Masterclass In Unreliability 

The Girl on the Train centers on Emily Blunt’s Rachel Watson, who, since her divorce and losing her job, rides the train into and out of Manhattan every day just to pass the time. She can also drink anybody under the table, which is why her life is so miserable at the film’s outset. During her commute, she sneaks glances at her old home, where her ex-husband Tom (Justin Theroux) now lives with his new wife, Anna (Rebecca Ferguson). Living next door are Scott (Luke Evans) and Megan (Haley Bennett), a couple Rachel barely knows but latches onto because she wants the life they have.

While riding the rails, Rachel gets ignorantly drunk. I cannot stress this enough. She blacks out for sport, leaves unhinged voicemails on Tom’s phone, and makes empty threats, having very little recollection of her behavior when she wakes up at her best friend Cathy’s (Laura Prepon) house, where she’s filled in on how insane she acted the night before.

When Rachel witnesses Megan having an affair, she loses her mind and gets off the train to confront her, only to wake up the next day at home covered in blood, learning that Megan has been reported missing. From this point forward, things look bad for Rachel, who tries to confide in Scott and even attempts to get Tom and Anna to hear her out. Through these conversations, we learn just how destructive Rachel’s behavior was before her divorce, but as a viewer, something doesn’t sit right.

Rachel doesn’t seem like a violent person. Is she a total mess because of her vices and mental health crisis? Absolutely. But it also seems like everybody who knows her understands this and uses her imperfect memory to shape the narrative however they want. Rachel, who’s always either about to enter another blackout or wake up from one, has to take what she’s told at face value, but remains cooperative with Detective DS. Riley (Allison Janney), who simply wants to solve the missing person’s case.

Emily Blunt Kills It

Rachel is such a complex character, and by the time The Girl on the Train reaches its conclusion, you’ll have a newfound appreciation for Emily Blunt if you didn’t respect her acting chops already. The blackout sequences are genuinely hard to watch, and the camera work deserves credit too, from the blurry close-ups of Rachel’s face to the first-person shots as she tries to piece together what actually happened the night Megan disappeared.

Each time she revisits these memories, they’re slightly different, but she maintains her innocence because there was another person at the scene whom she can’t quite identify. Emily Blunt not only looks but acts the part during these sequences, as well as the flashback scenes, where you’re never quite sure if they depict what actually happened or simply what Rachel has been told happened by the people around her who have grown tired of her self-destructive behavior.

Outside of the film’s initial setup, The Girl on the Train is one of the better thrillers I’ve seen recently involving a tragically unreliable narrator who’s been through the wringer but insists she’ll eventually be vindicated. While I’m not a fan of how the film opens, I honestly can’t think of a better way to efficiently deliver the information the audience needs in such a short amount of time so the conflict can be set in motion.

THE GIRL ON THE TRAIN SCORE

As of this writing, The Girl on the Train is streaming on Netflix.

Although The Witcher has steadily improved certain aspects of its storytelling over the years, one element has consistently plagued the Netflix fantasy epic series: its emphasis on politics. The Witcher novels by author Andrzej Sapkowski, as well as the video games from CD Projekt based on those books, are home to an intricate sociopolitical system replete with monarchal upheaval, bureaucratic infighting, power-grabbing machinations, and wars between competing kingdoms and species.

Yet that complexity has never translated particularly well into the Netflix adaptation. Too often, episodes grind to a halt as side characters explain their schemes through lengthy exposition, with political maneuvers rarely feeling connected to the emotional journeys of Geralt, Ciri, or Yennefer. Rather than enriching the Continent’s mythology, these storylines frequently bog down the larger narrative and struggle to carry much emotional weight. Thankfully, there exists a rich historical fantasy video game that’s ripe for adaptation — friends, please look no further than Dragon Age.

What Is ‘Dragon Age’ About?

Ironically enough, the Dragon Age franchise includes an excellent 2022 Netflix animated series (Dragon Age: Absolution) that touched upon the world’s politics as well as six breakneck episodes. For the unparalleled Dragon Age experience, however, one must turn to the games, which (all hyperbole aside) boast one of the most sophisticated, inventive, and advanced fantasy worlds of the 20th century. Created by Canadian video game developer BioWare and spanning three completed full-length games as well as various spin-off media, Dragon Age draws obvious — practically unavoidable — inspiration from J.R.R. Tolkien‘s The Lord of the Rings trilogy as well as the role-playing game Dungeons and Dragons.

Dragon Age is home to numerous different cultures, governments, territories, religions, and races, each blessed with an individualized and meticulously designed history. Clashes between said consortiums are more than just background set dressing; the protagonist of each installment (the player) must navigate civil uprisings, wars, and webs of subterfuge. Like most role-playing games, Dragon Age lets the player design a character by choosing between different pre-set backstories, races, and abilities, all of which impact said character’s relationships with non-playable supporting characters.

Similar to The Witcher’s mythology, all Dragon Age events take place on Thedas, the world’s only known continent. (In The Witcher, the continent is just called the Continent. Convenient.) Thedas’s recorded history dates back centuries, with every one hundred years marking a new “Age,” but the continent has existed for millennia. Just like the Continent, Thedas was originally populated by the elves, a race of learned scholars, artists, and mages adept in magic. When humans arrived at Thedas’s shores from an unknown continent, they waged war, conquered elvish lands, and infected the once-immortal elves with deadly human diseases. Although the elves strived to preserve their nuanced culture, civilization, and language, everything was lost. The majority of elves spent centuries either enslaved, tortured, or murdered by these human invaders.

In the current Dragon Age timeline, the elves have unwillingly fractured into two main factions. The Dalish elves are nomadic wanderers devoted to safeguarding their history. Within the Dalish exist different clans, beliefs, and practices, although all still worship the elven Old Gods. In contrast, “city elves” were forced to assimilate into human culture, worship the human god, and live inside isolated city areas. These elves live in conditions equal to squalor and face constant aggression and abuse from humans.

Humanity in The Witcher also declared war against the Continent’s elves and became the dominant species by force. The ramifications of these wars and humanity’s continued subjugation of the Elder Races (elves, dwarves, and gnomes) make up much of The Witcher’s political climate. The Netflix series tries to divide its attention between the politicking of human magic users, the rampaging Nilfgaardian kingdom, and the vengeful Scoia’tael elves, but there aren’t enough episodes to go around. Rather than have various side characters tell the audience about their plights, Dragon Age lets its political landscape unfold naturally through setting and dialogue. If Geralt, Yennefer, and Ciri learned information firsthand as a Dragon Age player does, there’s a good chance things in The Witcher would be grounded and relevant instead of dull and distant.

‘Dragon Age’ Integrates Politics With Plot (and Zombies)

Image via Bioware

Thedas’s main recurring threat is the Blight. Five times throughout recorded history, demonic creatures called darkspawn infect a powerful dragon with a corruptive, zombie-esque infection capable of spreading to all living beings as well as ruining the land. The first game, Dragon Age: Origins, follows the Grey Wardens, a group charged with ending the Blight at any cost. Dragon Age II has wide-ranging consequences but narrows its focus to conflicts within the city of Kirkwall, primarily of which are the overlapping tensions between apostate mages, city elves, and the Chantry (more on that later). Dragon Age: Inquisition introduces a new threat called the Breach, a dimensional rift allowing demons to run rampant. Characters with differing beliefs, approaches, and backgrounds band together to form the Inquisition and fix the Breach. None of these circumstances means there’s any less in-fighting, divisions, or scheming, though.

Left to contend with the Blight’s ramifications are Thedas’s diverse civilizations. Humans are split across numerous cities with varying government structures (feudal, monarchy, elected, etc.), but almost all worship a figure called the Maker. The Chantry, the monotheistic fantasy equivalent of the Catholic Church, oversees this religion and promotes the Maker as the true creator god. In turn, a figure known as the Divine (always a woman) guides the Chantry. The denomination also follows the teachings of Andraste, a Joan of Arc martyr figure who led a slave rebellion and believed herself the prophet (and later wife) of the male Maker.

The Chantry’s divisions include a spy group (the Seekers of Truth) and the Templar Order, the Chantry’s personal militia. The Templars defend Thedas against rogue magic threats with typical religious zealotry. They believe magic and magic-users must be strictly regulated, which means the Templars subdue any “apostate” mages who disagree with the Chantry’s chokehold. All Templar soldiers are also forcibly addicted to lyrium, a substance that increases resistance against magic but at a horrible cost. Not all Chantry members are terrible people, but the organization is a perfect example of individuals whose noble idealism tips into weaponized fanaticism.

The Dragon Age Universe Is Diverse

Image via Netflix 

Dragon Age is full of complicated moral quandaries and barren of obviously correct answers. But the Tevinter Imperium is ghastly, despised by outsiders for its imperialism and an economy dependent upon open slavery. As humanity’s first stronghold, Tevinter once controlled Thedas; multiple wars and uprisings pushed them into isolation. The city’s unflexible social stratum is ruthless and run by the cruel, the conniving, and the power-hungry. Although magic is widely practiced and a Magisterium of mages rules the government, access to magical training and the social benefits that follow are exclusive to the economically privileged. Tevinter’s alternative to the Chantry is run by a man, because of course it is.

Other primary humanoid races in Dragon Age include the dwarves and the Qunari. Dwarven culture, ruled by a monarchy, was all but erased by the First Blight. Early dwarves were responsible for Thedas’s best technological and cultural advancements; those who remain preserve their rich history through mining, crafting, and superb warriors. Dwarves operate according to a strict caste system accordant with social duties and worship the Stone, a creator whose “song” guides them through their expansive underground tunnels.

The Qunari, an original race created for Dragon Age, are instantly recognizable for their tall, muscular stature and their stylish horns. The Qunari welcome all beings into their culture, which prioritizes responsibility to others and enriches the community. Qunari value community so strongly that they forsake their given names and hold no attachments to their parents. The Qunari Triumvirate leads the Qun lifestyle, dividing all Qunari into workers of the mind, the body, or the soul. For all this progressive thinking, the Qunari’s history is tempestuous. Past military leaders tried to conquer Thedas before the Qunari established universal peace treaties, sans the Tevinter Imperium.

‘Dragon Age’ Shows How ‘The Witcher’ Needs To Improve

Image via BioWare

The Witcher (surprisingly) deals very little with religion or spirituality. Dragon Age examining religion makes for a richer narrative and an even thornier political landscape. How different cultures worship (or don’t), whether different beliefs clash or live in harmony, and the ways organized religion seizes power are all on the table. To be fair, Geralt fights random monsters for pay; there’s no single nasty for him to combat. But if we’re talking Big Bads, The Witcher’s overarching villains (the Nilfgaardians and their hunt for Ciri) haven’t felt like a threat since Cintra’s destruction. In Dragon Age, the inevitability of the Blight is always looming, and the Breach demands that different races and creeds work together. The Witcher’s lack of a unifying threat and how slowly it brings its warring factions together leaves something to be desired.

Netflix has already proven it wants a sprawling fantasy franchise with The Witcher, but Dragon Age offers the kind of built-in world, ensemble, mythology, and serialized stakes that could better sustain that ambition. Although The Witcher‘s budget allowed for gory monster battles, impressive fight choreography, and gorgeous landscapes, its inability to smoothly incorporate politics, let alone balance those plots with character work, leaves much to be desired. In comparison, the Dragon Age franchise feels as alive as the best 800-page fantasy novel and as detailed as a historical textbook.

Learning every facet of the world while playing is almost impossible, but that’s not to this story’s detriment. Instead, Dragon Age is a lesson in grounded worldbuilding, a place abundant with life and reflective of its passionate designers. The Witcher could learn a thing or two when it returns for its fifth and final season.

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The Witcher

Release Date

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December 20, 2019

Network

Netflix

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Directors

Stephen Surjik, Charlotte Brändström, Edward Bazalgette, Loni Peristere, Louise Hooper, Bola Ogun, Alex Garcia Lopez, Gandja Monteiro, Sarah O’Gorman

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It really is no kind of overstatement to say that the film industry is fundamentally changing right now. There are a lot of metrics for this, but perhaps none more so than the recent box office from the weekend of May 29, which saw low-budget indie horror films from directors in their 20s, Backrooms and Obsession, tower over Star Wars: The Mandalorian and Grogu in its second window. This was shocking to most observers, and also a thing of hope and excitement for many. The pandemic left something like a permanent mark on the entertainment business and how we watch movies. Even with outliers like Top Gun: Maverick, the Barbenheimer phenomenon, A Minecraft Movie and some significant Disney wins over the last half-decade, it’s been a constant struggle to bring audiences back to theaters. This recent surge of enthusiasm, particularly for fresh, edgy filmmaking over the familiar, is invigorating.

The last six months have seen highs and lows at movie theaters, but this time window has been a triumph for fresh and daring films across all genres. There have been some disappointments and bombs, but if there’s a uniting theme in looking at the very best movies released so far this year, it’s originality and freshness. From a dark comedy that sees major movie stars at their edgiest, to horror pictures so successful they’ve shaken the industry, to a British mystery with talking animals, to a crowd-pleasing hard sci-fi blockbuster, these pictures simply gave audiences something different. These are the greatest movies of 2026 so far.

10

‘The Drama’

Image via A24

Cleverly marketed in a shroud of mystery, which was the only way to market this pitch-black dramedy that rides on a shocking twist, Kristoffer Borgli‘s The Drama stars Robert Pattinson and Zendaya as a newly engaged couple whose upcoming nuptials are rocked by a revelation from the past. Alana Haim, Hailey Gates and Mamoudou Athie round out the supporting cast of a movie whose thematic risk pays off.

The Drama is sometimes edited and strung together in a way that feels like it’s unsure of itself, but commendable and kind of shocking this movie got made, much less with A-listers, and it’s even more shocking that it’s this good. Zendaya and Pattinson fully embody their characters; their work here is in the top tier of their respective and formidable careers, revelatory in the way you’d hope a smaller film with big stars would always be. The movie has some rough edges and isn’t perfect, but it’s a genuine must-see with a surprising range of emotion. Truly, how many movies manage to be disturbing, hilarious and romantic all at the same time?

9

‘I Love Boosters’

Image via NEON

An ensemble cast of Keke Palmer, Naomie Ackie, Taylour Paige, LaKeith Stanfield, Poppy Liu, Eiza González, Will Poulter, Don Cheadle and Demi Moore star in Boots Riley‘s maximalist absurdist satire about a gang of shoplifters at war with a billionaire fashion mogul. An uncompromising financial satire of the horrible realities of present day, the first two acts here are close to perfect, and hilarious throughout thanks to a commitment to Looney Tunes logic from the cast and filmmaker.

I Love Boosters doesn’t land with the same punch as the director’s 2018 breakthrough Sorry to Bother You (not many modern satires have), and it simply loses its way and its stakes in the third act, but it earns its spot here on the strength of its vision. The production design is pretty astounding, and it’s all in service of what might possibly be the funniest film of 2026 so far.

8

’28 Years Later: The Bone Temple’

Whether you loved it or hated it, it’s a real shame that last year’s 28 Years Later proved to be so divisive. Surely that response is what led Nia DaCosta‘s superior, highly acclaimed follow-up to bomb disastrously at the box office. A considerably higher audience score on Rotten Tomatoes for this latest entry certainly implies those who’ve actually seen it admire it. It’s a bona fide horror cult classic in the making.

28 Years Later: The Bone Temple is easily the strongest film in the quadrilogy since it began with 2003’s 28 Days Later, continuing the grisly misadventures of an effectively orphaned Spike (Alfie Williams). It’s a mood piece with philosophical ambitions that doesn’t forget we’re watching it for gruesome thrills. Jack O’Connell is unnerving as a cult leader, but an electrifying go-for-broke Ralph Fiennes steals the show. DaCosta also deserves a ton of praise for staging better set pieces here than veteran director Danny Boyle managed with the predecessor. The only sequel on this list earns its spot with a blend of innovation and good old-fashioned muscular craft.

7

‘Leviticus’

Image via NEON

Buzzy since its Sundance premiere, Australian writer/director Adrian Chiarella‘s supernatural thriller stars Joe Bird and Stacy Clausen as teenage lovers whose fanatically religious community summon an entity to combat their homosexual desires, an entity that alternately takes the form of the boys themselves.

Certain corners of the internet have cynically and lazily branded Leviticus as “the gay It Follows,” which really betrays what an affectingly somber affair this slow-burn really is. This isn’t the scariest horror movie you’ll see this year, but it’s often genuinely eerie, occasionally even shocking. It’s perhaps most commendable for the way it weaves together its dramatic and genre elements. Bird and Clausen are terrific, delivering touching, tragic performances that bridge the gap between the horror and coming-of-age genres.

6

‘Blue Film’

Image via Obscured Releasing

Elliot Tuttle‘s microbudgeted queer indie plays out like a black box theater two-hander, with Boots star Kieron Moore starring as Aaron Eagle, an aggressive and mysterious camboy escort whose latest client (Reed Birney) reveals himself to be Aaron’s former English teacher, with whom he shares a sordid past. This is almost exactly 80 minutes of two people engaged in piercing dialogue that’s uncomfortable, disturbing, and deeply sad in an empathetic way.

The subject matter here might be radioactive for many, but Blue Film is one of the most beautifully written and powerfully acted movies of 2026, eschewing salaciousness in lieu of a kind of exorcism, a need to make peace. Moore and Birney are flat-out superb, and the script reveals stunning emotional and psychological depth within a tight running time. It’s also evocatively shot in a way that masks its low budget while registering as an unshakable dream for the viewer.

5

‘The Furious’

Image via Lionsgate Entertainment

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Not to be confused with The Fast and the Furious, though this coincidentally is also an action film that’s sort of about family, The Furious is the action movie to beat in 2026. Seriously, it’s all but unfathomable that any action picture released over the next six months will top this. Kenji Tanagaki’s exhilarating masterclass in escalation stars Xie Miao as a mute handyman whose daughter (Yang Enyou) is kidnapped by child traffickers. It’s a simple, familiar, all-too-effective inciting incident for a blood-soaked Hong Kong action film that deserves a far wider release than its gotten. The Furious is perhaps the best film of its kind since The Raid, and it will find its audience over time.

It certainly isn’t perfect. The dialogue is clunky as hell, with many observers theorizing AI dubbing was utilized for the North American release (though, to be clear, this hasn’t been confirmed). The cheesiness really doesn’t really matter though, when what we’re here for is so perfectly executed and relentlessly fun. There’s a symphonic distribution and variation in the action sequences here, and the emotional impetus is irresistible. What the hell’s not to like?

4

‘Backrooms’

Image via A24

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Frankly, it’s a little surprising that many observers are still drawing a lot of attention to the fact that “YouTubers” are stacking such wins at the movies. This has been the case for years now, and it isn’t a trend. Still, Backrooms stands out as a particularly enormous event film. At 20, Kane Parsons became the youngest director to open a film atop the North American box office, with a staggering $118 million that broke A24’s all-time record. Oscar nominees Chiwetel Ejiofor and Renata Reinsve star as an alcoholic furniture store owner and his therapist, respectively, who discover seemingly endless, ominous liminal spaces in the store’s basement.

There are even greater surreal horror movies out there, but the interdimensional vision of Backrooms is astonishing and impressively cohesive even without taking the helmer’s tender age into account. Parsons’ technical, even mathematical filmmaking strengths and voice have been on display for years, and Backrooms is a successful marriage with a feature narrative thanks to a minimalist but effective script by Will Soodik. The two lead actors are haunting as people who choose to cope with traumatic pasts in very different, hardly equal ways.

3

‘The Sheep Detectives’

Image via Amazon MGM Studios

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By far the year’s best family-friendly interspecies murder mystery, The Sheep Detectives is an increasingly rare kind of bird, a mid-budget film made with A-list talent that offers something for audiences of all ages. Craig Mazin adapts Leonie Swann‘s novel Three Bags Full, about a herd of Irish sheep attempting to solve the murder of their shepherd. The ensemble cast includes Hugh Jackman, Nicholas Galitzine, Nicholas Braun and Emma Thompson, with the vocal talents of Bryan Cranston, Julia Louis-Dreyfus, Chris O’Dowd and Regina Hall.

The visual effects here were make-or-break for the final product, and they’re Oscar-worthy. It really isn’t overhyping Sheep Detectives to say Mazin deserves to be considered for this adapted script, too. Ultimately, the film is much less frothy and far deeper than you’d expect a movie called The Sheep Detectives to be.

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‘Obsession’

Image via Focus Features

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The success of Backrooms, and especially its mad opening weekend, can be attributed in part to great marketing. The phenomenon of Obsession can be attributed entirely to word of mouth. All but overnight, Curry Barker is the hottest name in horror cinema, thanks to this shoestring-budgeted fantasy fable about a monkey paw wish with horrifying consequences. A $750,000 budget looks like far more thanks to clever filmmaking across the board, from unnerving and darkly atmospheric cinematography and art direction, admirably silence-heavy sound design to Barker’s own taut editing. Michael Johnston and breakout star Inde Navarrette also deserve a lot of credit for a perfect tone that constantly leaves you unsure if you should be screaming, laughing, or maybe crying in despair.

Obsession is a rare breed, delivering freakouts that are already plastered all over the internet on top of a narrative that’s more provocative and disturbing, even grandly tragic, the more you think about it. It’s full of timely observations of modern dating, and it’s also a fundamental morality play, where the villain isn’t really the villain. We’re only six months in, but this is your horror movie of the year, in a historic year for horror, and it will end its box-office run as one of the most profitable films ever made.

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‘Project Hail Mary’

Image via Amazon MGM Studios

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Project Hail Mary is by far the most tactile blockbuster film in recent memory, at a time when so many pictures with big budgets feel oddly airy and disposable. It’s stunningly shot for IMAX and full of practical effects of varying scale, and Daniel Pemberton‘s hopecore original score is perhaps the year’s most inventive. This tactility is all in service of a winning hard sci-fi story with tons of heart and just the right amount of imaginative leaps. Ryan Gosling stars in Chris Lord and Phil Miller‘s adaptation of Andy Weir‘s novel about a washed-up middle school science teacher who wakes up in deep space with no memory of how he got there.

The nature of the premise lends itself to a non-linear narrative, and Drew Goddard‘s excellent script builds a formidable emotional potency over a near-three-hour runtime that never feels its length. The journey is the destination, and Project Hail Mary‘s surprises are best experienced going in completely cold if you haven’t read the novel. Everything in this blockbuster rides on the back of a grounding, physical, funny and soulful performance from Gosling that’s frankly on an entirely different scale from anything he’s ever done. Project Hail Mary is made with timelessness in mind, but it’s also the right movie at the right time.

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Project Hail Mary

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Release Date

March 15, 2026

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Runtime

157 minutes

Director

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Christopher Miller, Phil Lord

Writers

Drew Goddard, Andy Weir

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