The newly released films I see in 2026 will appear here. The list includes films seen in cinemas and new releases watched via streaming at home, as many films of the kind I like go straight to streaming now. The text reviews below each film are what I said on social media about each film.
2026 Total: 15. (Seen in cinema: 7. Seen via home streaming: 8.)
The 2025 page is here. Althought it needs the films from the second half of 2025 added! It links to the previous year, and so do the others, going back to 2015 when I started the One Film Per Week cinema thing. In the next few months, I’ll create a consolidated page covering all years from 2015 onward. A decade! Interrupted by the pandemic, sadly.
April
Gosh. I loved The Map That Leads to You. Several genuinely funny scenes. Plus, many that made me think. And I got a free eyewash at the end.
It wasn’t what I was expecting – a romcom in the typical mould. It was that, and more. Recommended. I gave it a 9/10 rating. Making it the third film I’ve waatched this year that will appear on my Favourite films of 2026 list next December.
You, Me & Tuscany is pretty standard romcom fare. It reminded me of Under the Stars, which I watched on Prime recently. Both have a lot of sunny Italian landscape porn. And Italian food porn. You, Me & Tuscany adds in some Italian car porn. Maserati specifically. Plus lots of ivy-covered red stone buildings.
I enjoyed it a lot. Which will surprise nobody who’s been following my film tastes for the last decade or so. Worth seeing. In the cinema or when streaming.
March
Ready or Not 2: Here I Come is not as funny as the first one. But it’s also not as violent either. The violence in both is still of the cartoonish dark comedy variety. The original is better because of its surprise on first viewing. This one starts immediately where the first one finished. The last scene of the original is the opening scene of the sequel. Literally. Great bit of continuity to mesh the new stuff with the old footage.
You don’t need to watch the first one to understand what’s happening, as they outline it in this one, but you should because it’s magnificent. It’s on Disney+ and the usual rental sites. Cinemas should show both.
Samara Weaving and Kathryn Newton are both fantastic. They play estranged sisters brilliantly. Elijah Wood is excellent as the Lawyer. The rest of the cast is good too. Definitely worth watching. Also, one to buy when available on VOD stores.
Project Hail Mary didn’t really float my boat. I liked the Earth-based flashback sequences a lot. I’d have watched a whole film about that. The space sequences and the alien bits were just okay. The special effects are standard on-screen. Some of the music choices didn’t work for me. I didn’t read the book. Like many books, I did buy it.
Under The Stars is a cliché fest romcom. It hits all the beats you’d expect. The shots of London and then Italy in the sunshine are stunning. Partly funded by the Puglia (Apulia in Italian) Tourism Agency. They got their money’s worth.
Story-wise, it’s predictable. The script could have used more time in the writers’ room.
Overall, it’s okay. Not a classic of the genre. And not a dud.
Eternity made me think about a selection of films I’ve seen before. Including Passengers, The Adjustment Bureau, and A Matter of Life and Death. With a sprinkling of themes from The Good Place TV show.
I liked it. And laughed out loud several times. The first time at the booth for the “men-free” eternity world choice that had the “Full” sign on it.
Elizabeth Olsen is fantastic in the lead role as the person with a terrible choice to make. Worth watching.
F*ck Valentine’s Day is better than I expected. And better than a cursory glance at the reviews would suggest. People need to lighten up.
It made me happy, and I also laughed out loud several times. Which are separate metrics. I’d happily watch it again. It’s not at the level of how much I liked The Valet on the romcom scale. But not too far behind.
Virginia Gardner is fantastic. The way emotions play out on her face is fantastic. She should get more leading roles. Recommended.
Maintenance Required is a paint-by-numbers will-they-won’t-they rom-com. With a few twists. It has all the beats and tropes you’d expect from such a film. Plus lots of vintage cars, San Francisco shots and driving in Big Sur. And Madelaine Petsch looks good in mechanics overalls.
It’s the film equivalent of fast food. And, much like fast food, it’s sometimes enjoyable to consume. I enjoyed it. It won’t make my list of favourite films. But I’m glad I finally hit play on it. It was in my watch list since October last year!
February
I enjoyed Paul McCartney: Man On The Run documentary immensely. I knew next to nothing about the history of Wings beforehand. I know a bit more now. And enjoyed how I found out. Recommended. It’s available to stream on Amazon Prime.
I loved The Marvelous Mrs Maisel on Prime Video. Is This Thing On? is basically S1 of that story in film form. In the film’s case, it’s about a couple both getting jaded after a 20-year marriage and drifting apart. Both then return to the things they loved when they met 26 years previously. Then they fall for each other again. It’s okay. Mrs Maisel is better.
I didn’t recognise Bradley Cooper. He disappeared into his role. Worth seeing.
January
Sorry, Baby tackles a subject I usually avoid: sexual assault. Rather than focusing on the act itself, the film explores the aftermath, focusing on the victim’s internal struggle without ever showing violence on screen.
Writer, director, and lead Eva Victor is excellent across all aspects. She has Greta Gerwig vibes. And played the part in a way that felt like someone very intelligent, possibly on the autism spectrum. The sandwich stop scene is superb.
It’s well done. But not a keeper for me.
Please Stand By film is very good. Suitable amounts of mild peril for the main character, who is autistic and has issues interacting with people, trying to get from San Francisco to Los Angeles. To hand in her exceptionally long (500+ pages) script for a Star Trek fan writing contest at Paramount Pictures.
Dakota Fanning is ace playing the lead character.
Worth 1.5 hours of your time to watch it. 👍🏻
It’s included with Amazon Prime for streaming, and on VOD sites to rent or buy.
If you’ve been reading my posts on social media for a while, you’ll know that I like films that can be categorised as feel-good. I’m completely unapologetic about that. I want to emerge from the cinema with a warm glow. I’m not looking for films to impart some profound truth or revelation about the world or a particular topic. I want to be entertained and made happy. Rental Family is that type of film. I loved it.
The cinematography is superb and beautifully showcases Tokyo and then rural Japan. Several sequences look like direct homages to Hitchcock’s Rear Window. Both at the start and at a pivotal point near the beginning of the third act.
The music is also good – I’m listening to the soundtrack as I write this. The cast is excellent. Including Mari Yamamoto, whom I thought I recognised. Turns out she was in several episodes of Pachinko. I love that show.
At its core, the film is about loneliness, the goodness of human connections, and found families. While some may question the deceit in the friend or family member for rent concept at the core of the main character’s job, and the damage this can lead to for the people involved, the redemption arc, while foreseeable and predictable given the type of film, outweighs the harm in the cases shown. For me anyway.
It was easy for me to rate Rental Family 9/10 stars. I’ll be buying it on the Apple Store for future viewing.
Marty Supreme is a manic film. The lead character, Marty Mauser, is an Arthur Daly or Del Boy like character in 1950s New York. It’s gritty. Marty is brash and is always hustling to get money to feed his habit.
Unusually, his habit is high level table tennis. At which he is very proficient. We see him in the British Open tournament in London. As a halftime novelty act on a Harlem Globetrotters tour, in Tokyo, when the World Championship is on. His need for money leads to many capers.
Sentimental Value is a family drama at its core, with themes that have been explored before, such as a divorce that breaks up a family and how it affects the children, even when they have grown up.
The acting is superb, and the dialogue in the script is excellent. Significant parts of the film are in Norwegian with English subtitles. I hardly noticed when the dialogue switched to English the first time.
The four leads are excellent. Expect award nominations. Worth seeing.