- “Elle” Does Its Best to Smell Like Teen Spirit (July 1, 2026)
In 1995, six years before she was introduced to the world in the 2001 film “Legally Blonde,” Elle Woods was a high school student suddenly thrust out of her sunny Beverly Hills comfort zone into the overcast, extremely flannel world of Seattle. That is the backstory created in “Elle,” a new Prime Video series and prequel to “Legally Blonde” that imagines what life would have been like for teenage Elle if she’d had to navigate the grungy Pacific Northwest scene armed with an almost entirely pink wardrobe and a plucky attitude that shines a little too brightly for the shoegazer crowd.
Created by Laura Kittrell, whose previous writing and producing credits include “Insecure” and the wonderful, underrated “High School,” “Elle” begins with a clunky pilot and slowly becomes more watchable as it progresses through the eight episodes in its first season. It helps that the lead role once owned by Reese Witherspoon, also an executive producer, is occupied by newcomer Lexi Minetree, who looks a teeny bit old for high school (the actress is 25 in real life), but effectively channels the same bubbly, can-do spirit of Witherspoon’s Elle, along with her frustration with people who judge the cover of her book and immediately file her in the “vapid” section. But particularly in its early installments, the show “Elle” tends to place many of its characters into overly simplistic categories.
Literally every kid at Rainier West High School—which Elle attends after her plastic surgeon father (Thomas Everett Scott) performs a reputation-ruining botched nose job that forces her family to leave L.A.—dresses in either black, gray, or some monochromatic combination of the two. They’re all a bit cynical, mildly depressed and, sometimes, downright mean. “People are saying that you wearing that shirt is the second worst thing to ever happen to Nirvana,” Kimberly (Chandler Kinney), who immediately emerges as Elle’s nemesis, tells Elle when she shows up to school in a Nirvana shirt she bedazzled herself. “Seattle isn’t a costume and pink isn’t a personality,” Kimberly adds. The problem is that the show absolutely acts like Seattle, and the mid-’90s in general, is a costume, a hypocrisy that Elle lightly touches on herself. When Shannon, a fellow classmate and friend, tells Elle that the kids in Seattle are anti-conformity and “afraid to be like everybody else,” Elle responds, “Except when it comes to plaid.”
Tom Everett Scott, Lexi Minetree, June Diane Raphael
It’s best not to spend much time thinking about how the events in “Elle” may or may not disrupt the canon of the “Legally Blonde” franchise, which, for the record, includes three movies and a hit Broadway musical. (It’s okay if you don’t remember the 2009 straight-to-DVD release “Legally Blondes,” about Elle’s twin British cousins. Nobody else does either.) Kittrell and her fellow writers go out of their way to make allusions to the first movie, from the episode titles that repeat classic Elle Woods quotes—“Whoever Said Orange is the New Pink Was Seriously Disturbed” is the name of episode six; episode eight is called, “What, Like It’s Hard”—to the frequent references to Elle’s previously established favorite things (Cosmo and “Days of Our Lives.”)
But the series is just as evocative of other teen films and TV shows as it is of “Legally Blonde.” In fact, if someone turned on this series without knowing what it was, they might be convinced they were watching a streaming adaptation of “Clueless” since it’s set in 1995, the year the film was released; features similar music (“Just a Girl” by No Doubt makes an appearance, as do Radiohead and a cavalcade of other artists who had hits in the ‘90s); and focuses on a protagonist who’s determined to become a better, more serious person. As she did in “Legally Blonde,” Elle also uses a fuzzy feather pen. But we all know who did that first, and she has the same name as the lady who won an Oscar for “Moonstruck.”
Halfway through the season, a storyline involving the potential cover-up of a financial scandal at Rainier West High starts to give “Elle” a bit of a “Veronica Mars” vibe. There’s also an entire episode set during Saturday detention that overtly and frequently references “The Breakfast Club.” And in a choice that is now more poignant in retrospect, James Van Der Beek, whose career launched via “Dawson’s Creek,” plays a school superintendent running for mayor in what turned out to be his final performance. (He died earlier this year of colorectal cancer.)
Dean Wilson (James Van Der Beek) in ELLE. Photo Credit: Kimberley French/Prime Video
The more you can think of “Elle” as another teen show dealing with typical teen issues—including dating mishaps, the struggle to make and maintain friendships, and the attempt to define one’s sexual identity—the more likely you are to meet this series where it is and enjoy it on its own breezy terms. There are indeed some things to enjoy.
In addition to Minetree’s charming performance, Gabrielle Policano is a stand-out as Liz, an out-of-the-closet lesbian and straight shooter who becomes unlikely buddies with Elle. Her character could easily have come across as a stereotype, but Policano gives her a sense of humor and humanity that make her feel like a real teenager rather than one invented for a streaming release. Most of the laughs in “Elle” are generated by June Diane Raphael, who is extremely well-cast as Elle’s mother, a privileged busybody who, like her daughter, is not shy about stating her opinions. “These children are pale on purpose,” she tells Elle in an attempt to comfort her when her classmates are less than welcoming. “They don’t know anything.”
“Elle” won’t teach you anything important that you don’t already know about Elle Woods or, for that matter, what it’s like to be a teenage girl in the ‘90s or any other era. But it’s light, cheerful to look at, and unchallenging to binge in a weekend. Sometimes you need a dose of that after wallowing for too long under heavy clouds and too much flannel.
All eight episodes of season one were screened for review. Premieres July 1 on Prime Video.
- The Unloved, Part 151: Millennium Bugs (July 1, 2026)
Take this as a sequel to my piece that ran two days ago, “Retreating From The Elephant,” about the dismal state of the independent American cinema. Here we look at the hard-yet-uplifting sophomore feature “Millennium Bugs” by Alejandro Montoya Marín, his version of a 2000s feel-good comedy. The devil works hard, but Alejandro works harder. As long as I’ve known Alejandro, some ten years, he’s been working to get his next movie made, always the next movie. He cares about his past work, sometimes to the point of madness, and his persistence moved me. If only I had his determination, I might have been somebody. We all might.
Alejandro is a true independent, trying desperately and frequently succeeding, to keep the train rolling, to get eyes on his work, to provoke something in critics, journalists, festivals, and distributors. Alejandro could teach a class on guerrilla marketing and ignoring what an economist might tell him about the health of an investment. He’s detailed the frustrating meetings, the misery and loneliness of fundraising, and yet he remains undeterred. He was the one who suggested I start a crowdfunding campaign for my new film. Turns out he was right, and he gave me and my movie a stay of execution. I owe him a lot. I’m hoping this goes a little way toward repaying the favor.
His first film, “Monday,” was a little action comedy that sizzled with purpose. His latest, “The Unexpecteds,” is the all-too-relatable story of someone who got caught up in a get-rich-quick scheme, whose dreams were bigger than their means. It’s a movie bursting with inventiveness and heart, eager to become something greater than itself, a movie whose message is its means and medium. A film about trying to make a film, if only in a roundabout way.
But it’s this film that most fills me with joy among his too-small oeuvre. A story of fending off adulthood, no matter what your clock tells you. The best time to become your best self is yesterday, but tomorrow will do, if it must. A really fun scrappy picture, with real heart and a killer soundtrack, this is independent cinema.
- Living Something In Your Flesh: Anna Winocour on “Couture” (July 1, 2026)
Angelina Jolie is back with one of her “most raw and vulnerable performances in years” in writer-director Alice Winocour’s incisive new drama “Couture.” Set during Paris Fashion Week, the film is both an emotive cancer drama and an insightful rumination on much of women’s invisible labor within the fashion industry.
Born in Paris, France, filmmaker Alice Winocour studied screenwriting at La Fémis before making three short films and co-writing the 2009 drama “Ordinary People” with director Vladimir Perišić. Winocour then made her directorial debut with the biopic “Augustine,” which premiered at the 2012 Cannes Film Festival as part of the Critics’ Week. Her sophomore film, the neo-noir thriller “Disorder” starring Matthias Schoenaerts and Diane Kruger, debuted at the Un Certain Regard section of the 2015 Cannes Film Festival.
That same year, “Mustang,” the Turkish drama she co-wrote with director Deniz Gamze Ergüven, was nominated for Best Foreign Language Film at the Academy Awards. Next came the Eva Green-starring astronaut drama “Proxima,” which premiered at the 2019 Toronto International Film Festival. Virginie Efira won the César Award for Best Actress for her performance in Winocour’s drama “Revoir Paris,” which premiered as part of the Directors’ Fortnight at the Cannes Film Festival in 2022.
Like her previous films, her new film “Couture” focuses on the complex interior lives of women as they navigate the modern world. An ensemble drama led by the always great Jolie, the film was inspired in part by Winocour’s own brush with breast cancer. Set during Paris Fashion Week, the film follows indie horror film director Maxine (Jolie), who is diagnosed with breast cancer just as she has arrived in Paris to direct a video for a big fashion show. The film weaves together Maxine’s story with that of makeup artist and would-be writer Angèle (Ella Rumpf), fresh-faced South Sudanese model Ada (Anyier Anei), and several other women working behind the scenes to make magic during Paris Fashion Week. In this glamorous world, Winocour explores how beauty and pain so often commingle, and how women’s bodies become both a battleground and their most sacred space.
For this month’s Female Filmmakers in Focus column, RogerEbert.com spoke to Winocour over Zoom about collaborating with Jolie on such a personal subject, the politics of presenting a film about collective labor, and crafting a film filled with the kind of women not often seen on screen.
This interview has been edited for length and clarity.
Obviously, it’s a very personal story for both you and your star, Angelina Jolie. I would love to hear what that was like working together on a film that centers on an experience you both felt so deeply and personally in your real life.
It was something very emotional to work with someone who had lived through an operation on her flesh. Angelina has never had cancer because she did the preventive surgery, but she lost her mother and grandmother to the disease. So, there definitely was a special bond between the two of us, something you can’t explain with words. When you have lived something in your flesh, you know what you’re talking about.
We were very lucky; we were able to do something with our stitches, and that was the whole idea of the movie. Sharing the wounds and doing something with them. We did the film really with this kind of punk energy that Angelina also has. I love her rebellious mind and the way she behaves in life. We did it very quickly, with the sense of urgency that we had to celebrate life. And so it was a very profound and emotional experience.
Her performance is filled with so many beautiful interior moments. A lot of the film is her taking things in; there is so much emotion coming from her eyes. How do you work through a performance that’s so internal?
I think it’s very difficult. Sometimes you think actions seem more difficult, but I think the most difficult thing as an actor is showing your vulnerability or your soul. To be naked emotionally, and I mean, she’s also nude in the film, but she’s so naked emotionally, and it was a lot of trust, especially for such a big star as Angelina. There was a lot of sharing, and I’m really so grateful that she dedicated so much of herself to the movie. She’s speaking French; she’s doing so many things that were challenging to her.
Also, she’s not very comfortable with the idea of sex scenes anymore, but she did it because it was a special one; it was this idea of having sex, knowing you have cancer in your breasts, saying goodbye to your breasts before the operation, so this is the last time the character is doing this, having sex with her two breasts intact. So the film was very emotional, and she gave so much to the movie.
As you said, there’s so much of her coming on the screen. It was a lot to watch.
Sometimes she told me it’s too much. She didn’t have anything to hide behind. But I told her that’s what she’s going to show in the movie—the real Angelina behind Angelina Jolie, behind the icon, who really is.
You’ve discussed that this is, in one sense, a film about labor. It’s about these women, these professionals, working in this really difficult industry. Even though it looks very glamorous on the outside, it’s a difficult industry. Could you talk a bit about crafting these characters, each representing a facet of labor in the fashion industry?
It’s a labor thing, and it’s about workers. Because I don’t think that’s what people expected with Angelina Jolie in a fashion movie. These films are always stories about artistic directors or about those on the side of power, and mostly from a male perspective, because artistic directors are mostly men. I wanted to show the real life of workers, like the seamstresses in the atelier, makeup artists, the glam team, and all these models. There are the big superstar models, but then there are the ones nobody thinks about, like fit models. While doing research, I discovered that there are so many different worlds in the industry.
It was really touching because we worked with Chanel and showed the real workers and seamstresses. They were so happy to be looked at and to be filmed for the movie. We did the screening there. It was very emotional, too, because it was with all the women in the film. Afterwards they came up to me and said, “Oh, this is our life.”
Also, we had Yulia Ratner, the Ukrainian model, who really came from Zaporizhzhia, although she was in Kyiv when I met her. She had come through Poland, escaping war to go to fashion week, and then went back to the war zone. Anyier Anei, the South Sudanese girl, also came from a war zone as well. They met in this glamorous atmosphere. I didn’t know about any of this about fashion, that there were all of those people behind the scenes. So that’s what I wanted to show.
There’s a lot of geopolitics in this film, not just labor, but also geopolitics behind the glamor.
Fashion is entering the world all the time. We live with these images of fashion; they are everywhere around us, but the world is also entering the fashion world. I also thought right now it was political to make a movie that is about a collective, not just an individual story, but a story of many women, and this idea of sharing one’s skills and empathy. I mean, in a sense, all the characters are the same character, because they’re a self-portrait, they’re all fragments of me, a woman, and all the women I was, and that I’m not anymore. A woman in her 20s, in her 30s, in her 40s, somehow it’s the same woman, but at the same time it’s all parts of life that I really saw.
It’s also the parts of life within the fashion industry that I really saw. All the girls I’ve met have had such hard lives, and they’re from different generations. So in the film, we even see this woman in her 70s, the one Maxine meets in the hospital. What is also very funny is that almost all of the women in my film were models at one point in their lives. That woman, Aurore Clément, was a model. Ella Rumpf, who plays Angèle, was not a model, but Anyier is. So it’s really different stages of a woman’s body.
As a labor movie, obviously there are a lot of themes going on with the models – their bodies are their main asset, right? Then you have Angèle, the makeup artist, whose task is covering their scars. You have a couple of scenes where she is doing that, making their bodies look perfect, but you also see that their toes are bleeding. I’d love to hear your thoughts on how you show all this beauty, and then also the destruction and their bodies falling apart, and yet they’re propping each other up. I guess I’m interested in the combination of beauty and terror.
Yeah, it’s also about the suffering, like you see when Ada, Anyier’s character, is putting her feet on the ice because they’re aching so much. It’s a lot of pain, I think, yes, we see women suffering, but at the same time, life goes on. At first, I thought the film could have been named “Ride or Die,” you know, because it is filled with the spirit of survival and also about cancer. I think a lot of movies about cancer are very condescending. But when you are going through those experiences, I mean, life goes on. You don’t only have this question of cancer; you remain a woman with desires, with other problems, like money problems, like family problems, everything. It’s like the turmoil of life.
I thought it was interesting to represent illness as a love story, because you can fall in love with the heart, even in the midst of the harshness of disease or any hard time. I think life is complex. Beauty and death are always melded together, so I wanted to represent that in this movie.
I wanted to ask you about the male writing consultant with whom Angèle discusses her project. He says to her, “Just because something really happened doesn’t mean it’s interesting.” It’s such a horrible thing to say to someone, and so mean. All of these women are fighting to tell their stories or to challenge how they perceive them, and it felt so cutting and so real.
There’s a lot of meta in the film. Some critics would say exactly that. But it’s a real story that I wanted to see, with all of these women. The script was also inspired by comments I was given in my thirties, when I was beginning to write, from consultants like that or from people who tell you, “No, that’s not the way you should do it. You should do it another way.” In a Q&A, a guy told me it was funny that in the film most of the men who talk to women tell them what to do with their bodies, their lives, or their writing. It’s all men telling women what to do. I thought it was very true.
There are a lot of men in both those worlds.
It’s true, and so I really wanted to put the lights on the lives of women I thought I was not seeing in cinema. Also, Anyier, the South Sudanese model, I really wanted to put her on the map of cinema. There aren’t any South Sudanese stars, and yet models from there are everywhere. It’s really in fashion right now to feature girls from South Sudan. They are everywhere, in commercials and shows. So, I really wanted to know what their life was like, what their story was.
Are there any other women filmmakers whose work has inspired you or that you think readers should seek out?
There are so many, including male directors. I mean, of course, Agnès Varda was an inspiration. Kathryn Bigelow was an inspiration as well. I like directors who explode codes, who refuse assignations. Bigelow was a great inspiration for me for action movies and how to direct action. But I’m also very inspired by many male directors. I think it’s important to reaffirm that I don’t really know what it means to be a female director. Of course, being female is one aspect, but I do feel we should be more equal.
I wish that future generations will not have to answer these kinds of questions. Because you never ask men what male directors they like.
- Season 2 of “X-Men ‘97” Is The Team, And The Superhero Genre, At Its Best (June 30, 2026)
The boom of superhero television shows that began to dominate the genre at the beginning of the 2020s has thankfully receded. It’s not to say that there isn’t value in the superhero genre expanding to a different medium, but the sheer number of series released within the Marvel universe quickly became a chore to consume rather than something that was actually enjoyable. But there’s a Marvel Studios production that stands out amongst its failed or canceled peers and would be welcomed to release a season each year: “X-Men ‘97,” which was renewed for a highly anticipated second season.
Picking up right where season one left off, the X-Men have been splintered into three factions: one group has traveled back in time to 3,000 B.C, another has stayed in the present day, and the third has traveled to the future in 3960 A.D. In each of these timelines, the X-Men and their friends and foes must try to stop En Sabah Nur (Adetokumboh M’Cormack), also known as Apocalypse (Ross Marquand). While two of these groups are desperate to get back to the 90s, the season never feels like it’s rushing to get these characters back into the habitat where we first met them. Instead, season two revels in trapping its ensemble within the inescapable grasp of time, intensifying and prolonging their absence from the world they know.
En Sabah Nur (voiced by Adetokumboh M’Cormack) in Marvel Animation’s X-MEN ’97 Season 2, exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.
Ensemble shows like this haven’t necessarily worked in recent months, with the final seasons of “Stranger Things” and “The Boys” both receiving criticism from fans who ridiculed their bloated casts. Somehow, with each episode running only 30 minutes, season two of “X-Men ‘97” has managed to make each character in this expansive cast feel integral not only to the mission they’re on but also to the foundation of this series. Each episode exists within its own realm, using these sparse thirty minutes to detail one fraction of the X-Men that has been torn apart. By taking its time and allowing each splintered group to reign over its own episode, the series’ pacing has been tightened, making each episode feel like a separate experience.
The second episode is where this becomes fully realized, when we’re transported back to the present as the show’s title card reads “X-Force ‘97” rather than its regular one. What unfolds is an episode focused on those left behind in the 90s, with Cable (Chris Potter), his disciples Jubilee (Holly Chou) and Sunspot (Gui Agustini) reluctantly joining forces. We watch as they embark on vigilante missions that become increasingly dangerous, forcing Jubilee to question the morality of Xavier’s (Marquand) teachings and Cable’s desperation to stop Apocalypse by any means necessary. Mostly shown through Jubilee’s perspective, we watch all the creative ways she uses her powers and get an in-depth look at how one of the X-Men left behind is forced to grapple with their status as a hero forced into limbo.
(L-R): Beast (voiced by George Buza), Bishop (voiced by Isaac Robinson-Smith), Rogue (voiced by Lenore Zann), Professor X (voiced by Ross Marquand), Magneto (voiced by Matthew Waterson), and Nightcrawler (voiced by Adrian Hough) in Marvel Animation’s X-MEN ’97 Season 2, exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.
The character work here is more fascinating than ever, with “X-Men ‘97” continuing to give this superhero group the respect they were never given in Fox’s live-action films. The animation is still top-tier, and the action sequences are more thrilling than the sloppy CGI that has plagued recent live-action superhero films. Each blast of Cyclops’ (Ray Chase) glasses appears so red, their hue feels like it’s actually emulating heat, and there’s a significant weight behind every blast of rain or snow that Storm (Alison Sealy-Smith) throws at her opponents. With each scene, it feels like we’re watching something special unfold, not just for these characters that have finally been given their dues, but for the superhero genre at large.
With its second season, “X-Men ‘97” has become a more complex yet refined version of itself. Though its storylines take place thousands of years apart, between the past, present, and future, each of them fuses into a magnetic story about family and destiny. With M’Cormack’s tenure as En Sabah Nur, a complicated foe who toes the line between villain and anti-hero, the series features some of the best voice acting put to screen in decades. As the X-Men attempt to stop him from becoming the villain they know and fear as Apocalypse, the series embarks on a stunningly crafted journey that delivers some of the most thrilling arcs in a genre in desperate need of rejuvenation.
Four episodes were screened for review. Season premieres July 1st on Disney+.
- Home Entertainment Guide June 2026: Hoppers, Crime 101, The Mastermind, More (June 30, 2026)
10 NEW TO NETFLIX
“Andre is an Idiot““Another Round““Color Book““Drinking Buddies““Lawrence of Arabia““Poor Things““Side Effects““Song Sung Blue““Ticket to Paradise““Under the Silver Lake“
12 NEW TO BLU-RAY/DVD
“Audition” (Arrow)
It’s hard to pick a favorite film from someone as prolific as Takashi Miike (he’s made over 100), but the consensus pick would probably be this horror masterpiece, now given a lavish 4K limited edition treatment by the geniuses over at Arrow. If you haven’t seen “Audition,” it’s best to know as little as possible. Just know that it’s about a widower (Ryo Ishibashi) who fakes auditions to find a girlfriend, his toxic masculinity leading him into the world of a deeply disturbed young woman. The Arrow edition now in stores includes a brand-new restoration from the original negative along with a new interview with Ishibashi and hours of previously available material, including aa commentary by Miike, interview with him, and a great essay by the brilliant Alexandra Heller-Nicholas. New writing in the collectors booklet also shines in one of the most essential horror 4K releases of the year.
Special Features
BRAND NEW 4K RESTORAITON from the original Super 16mm camera negative by Arrow Films approved by director of photography Hideo Yamamoto
DOLBY VISION/HDR PRESENTATION OF THE FILM
Newly restored original lossless stereo and 4.0 audio, plus optional DTS-HD MA 5.1 surround audio
Optional English subtitles
Introduction by director Takashi Miike
Audio commentary by director Takashi Miike and screenwriter Daisuke Tengan
Audio commentary by Miike biographer Tom Mes
Callback, a brand new interview with actor Ryo Ishibashi
Ties that Bind, an interview with director Takashi Miike
Damaged Romance, an appreciation by Japanese cinema historian Tony Rayns
Archive interviews with stars Ryo Ishibashi, Eihi Shiina, Renji Ishibashi and Ren Osugi
Deeper Deeper Into Audition, an audio essay by author and critic Alexandra Heller-Nicholas
Trailers
Image gallery
Collectors’ booklet featuring new writing on the film by Anton Bitel, Jennie Kermode and Jamie Graham
Reversible sleeve featuring newly commissioned artwork by Dark Inker – Sampson and original UK artwork by Graham Humphreys
“Charade” (Criterion)
When people ask me the best gateway film for classic cinema for young people, I generally pick “Rear Window,” but this would make a solid alternate choice. I know I saw it a young age, captivated by the gorgeous setting and twisting screenplay. Stanley Donen directs Cary Grant and Audrey Hepburn to two of their most charismatic performances in a film that really does a bit of everything, playing as both a taut thriller and engaging rom-com. Most of all, it’s a movie that feels both glamorous and quirky, allowing two of the most beautiful people in the history of filmmaking to also be a bit eccentric and funny. Criterion had released it before, but have now updated it in 4K, including a great audio commentary that the legendary Donen did back in 1999.
Special Features
New 4K digital restoration, with uncompressed monaural soundtrack
One 4K UHD disc of the film and one Blu-ray with the film and special features
Audio commentary from 1999 featuring director Stanley Donen and screenwriter Peter Stone
Trailer
English subtitles for the deaf and hard of hearing
PLUS: An essay by film historian Bruce Eder
“Crime 101“
Written off by a lot of critics (not ours) when it was released as a rehash of “Heat,” this Amazon MGM thriller is better than its reputation as a critical and commercial bomb would have you believe. It’s one of the few films from the first half of 2026 that feels like it could have a strong reappraisal in five to ten years with people wondering why it wasn’t beloved in 2026. Of course, it’s not “Heat,” and it’s undeniably a tick too long, but the self-indulgence fits what Bart Layton is going for: a thriller that deftly maintains a rolling simmer for its entire runtime (the non-stop, thumping score helps). Chris Hemsworth plays an L.A. jewel thief who hits stores along the 101 freeway in L.A. When he’s grazed by a bullet in the film’s opening job, it sets in motion a series of dominoes that lead to more violence. Hemsworth gives a wonderfully subtle performance, and the ensemble also includes great turns from Halle Berry, Mark Ruffalo, Nick Nolte, and many more. One thing that’s not going to help the film’s 2026 reputation is a truly bare-bones physical release, one that not only doesn’t include a digital code (probably because the film is on Prime), but also nary a special feature. What a crime.
“Hoppers“
The best original Pixar film since “Luca,” this quirky environmental comedy should have been a bigger hit. It’s hard to say that about a movie that made $400 million worldwide, but that’s chump change compared to the Minions and Marios of the world. Get the kids to watch this one if they haven’t, and you’ll all be pleasantly surprised by a movie that feels relatively predictable at first before getting remarkably weird in a way that mainstream animated blockbusters are rarely allowed to be. Daniel Chong’s clever flick gets a strong Disney physical media release with excellent video and audio transfers, and a reasonable amount of insight gleaned from special features.
Special Features
The Critter Diaries: Wander behind the scenes with director Daniel Chong and the Pixar team as they explore Yellowstone, study wildlife, and find real-life inspiration for our favorite new animated characters from Hoppers.
Hopping In: The Making of Hoppers: Hop into the making of the movie as filmmakers, cast, and crew share how their ideas, collaboration, and creative process brought the story, animation, and lovable characters to life in Pixar’s Hoppers.
“Meet King George” Scene Breakdown: Dive deep with director Daniel Chong and his filmmaking team as they reveal the craft of making King George’s Superlodge. Get insight into the directing process, editing, VFX, animation, and production design.
Beaverton Revealed: Explore Hoppers to find surprising Pixar film cameos, hidden references, and plenty of fun, behind-the-scenes facts.
Dam Good Bloopers: Laugh along with your favorite voice actors from Hoppers as they have fun bringing their characters to life in the recording booth.
Deleted Scenes: Check out these scenes that didn’t make the final cut, as introduced by director Daniel Chong and editor Axel Geddes.
Cold Open
The Glade
The Mission
Kings Arrive
George’s Bachelor Pad
Helicopter Ride
“It Was Just an Accident” (Criterion)
One of the biggest snubs of the last Oscar season was the fact that Jafar Panahi’s Palme d’Or-winning masterpiece missed the cut for Best Picture (it was my personal #4 of the year). The masterful director made one of his most ambitious dramas, another personal study of the cost of vengeance that plays like a movie Hitchcock would have loved. When Vahid (Vahid Mobasseri) hears what he thinks is the unmistakable squeak of a prosthetic leg, he becomes convinced that his former captor and torturer is in his shop. Kidnapping his enemy, Vahid gathers the assistance of other former prisoners to determine his fate. Sharp, unpredictable, and even funny at times, “It Was Just an Accident” builds to one of the best endings of the 2020s. Criterion has given it the full Criterion spine # treatement (not Criterion Premieres or Janus Contemporaries), and accompanied the film with a new conversation between Panahi and the brilliant Ramin Bahrani.
Special Features
New digital master, approved by director Jafar Panahi, with 5.1 surround DTS-HD Master Audio soundtrack
One 4K UHD disc of the film and one Blu-ray with the film and special features
New conversation between Panahi and filmmaker Ramin Bahrani
Cannes Film Festival press conference from 2025 featuring Panahi and members of the cast and crew
Trailer
New English subtitle translation
PLUS: An essay by poet, scholar, and translator Sheida Dayani
“Magellan” (Criterion)
Filipino filmmaker Lav Diaz is one of the kings of modern slow cinema, directing films that could often be called glacial in terms of pacing. “Norte, the End of History,” arguably his breakthrough due to its UCR placement at Cannes, ran 250 minutes. “From What is Before” is 338 minutes! So the 164-minute runtime and the presence of a movie star in Gael Garcia Bernal arguably make this the master’s most accessible work to date. Bernal plays Ferdinand Magellan in a chapter that chronicles the explorer’s actions in the early 16th century in Southeast Asia. Praised as one of the best films of the year so far, it’s been released on the offshoot label Criterion Premieres, as well as made available on Criterion Channel.
Special Features
Meet the Filmmakers: Lav Diaz, a Criterion Channel original interview
Trailer
Notes by critic Beatrice Loayza
“Marlowe” (Arrow)
This is a weird one. James Garner is effortlessly cool in a movie that’s better viewed as an audition tape for “The Rockford Files” than part of the legacy of Raymond Chandler’s iconic character, Philip Marlowe. The 1969 mod style and the gritty noir of Chandler’s source material (The Lost Sister) don’t ever really come together in a film that’s oddly incongruent at times, even if it looks remarkable thanks to a new restoration courtesy of Arrow. There’s a new appreciation of the movie and new artwork, but this odd duck of a noir is for genre, Chandler, or Garner completists only.
Special Features
NEW RESTORATION from the original 35mm camera negative by Arrow Films
Original lossless mono audio
$100 A Day (Plus Expenses), a brand new appreciation by film historian Howard S. Berger
Theatrical trailer
Image gallery
Reversible sleeve featuring original and newly commissioned artwork by John Pearson
Collectors’ booklet containing new writing by critics Jeff Chang and Priscilla Page
“The Mastermind“
No one had a better 2026 than Josh O’Connor, who gave four radically different performances in “History of Sound,” “Rebuilding,” “Wake Up Dead Man,” and this quirky dramedy from the singular Kelly Reichardt. In “The Mastermind,” the star of “Disclosure Day” plays JB Mooney, a Massachusetts family man who plans a heist to steal art from a nearby museum. As protests rage against the Vietnam War in this period piece, JB struggles to pull off his robbery, seemingly unaware of the world around him. As with all Reichardt, it’s a smart, subtle movie that really only comes together in its hysterical final scene, an image of a man swept up by a world he never bothered to consider. Sadly, MUBI, perhaps to push people to its streaming service, haven’t included a single special feature on the physical release. Given Reichardt has been inducted before, perhaps a Criterion release is being planned?
“Mortal Kombat Kollection” (Arrow)
“Mortal Kombat” is one of entertainment’s most resilient franchises. It’s been a part of the fabric for over 35 years with the first game launching way back in 1992 and a movie releasing in theaters just last month. Arrow Home Video has always been smart with timing, launching a two-disc limited edition mini-box-set to coincide with the new movie, one that includes 4K restorations of 1995’s “Mortal Kombat” and 1997’s “Mortal Kombat Annihilation.” Both films weren’t exactly stellar when they were released, and neither has aged very well, but there’s still something so wonderful about how Arrow treats its fans. You’d think these were inarguable masterpieces. For the first film, they commissioned two new commentaries, including one with Paul W.S. Anderson himself, and there’s an accompanying one from “Annihilation” director John R. Leonetti. New interviews, new posters, new artwork, new writing: It’s overwhelming in a way that something called the “Mortal Kombat Kollection” should be.
Special Features
TWO-DISC LIMITED EDITION CONTENTS
Brand new 4K restorations of the two films by Arrow Films
4K presentation in Dolby Vision (HDR10 compatible) of the two films
Original DTS-HD MA 5.1 surround audio and lossless stereo audio on both films
Optional English subtitles for the deaf and hard of hearing for both films
Collectors’ perfect-bound booklet featuring new writing on the films by Simon Ward and John Torrani
Reversible sleeves featuring original and newly commissioned artwork by Matt Griffin
Two double-sided foldout posters featuring original and newly commissioned artwork by Matt Griffin
DISC ONE – MORTAL KOMBAT
4K restoration of the film from the original camera negative by Arrow Films approved by director Paul W.S. Anderson
Brand new audio commentary with director Paul W.S. Anderson
Brand new audio commentary with comic book expert and podcast host Dave Baxter
Cage Match, a newly filmed interview with with actor Linden Ashby
Leveling Up, a newly filmed interview with cinematographer John R. Leonetti
Quarters to Millions, a newly filmed interview with producer Lawrence Kasanoff
The Heavyweight, a newly filmed interview with designer and suit performer Tom Woodruff
Mortal Kombat: A Journey Behind the Scenes featurette
On-set interview bites with the cast and director and B-roll footage
Theatrical trailers
Image gallery
DISC TWO – MORTAL KOMBAT: ANNIHILATION
4K restoration of the film from the original camera negative by Arrow Films approved by director John R. Leonetti
Brand new audio commentary with director John R. Leonetti moderated by filmmaker Gillian Wallace Horvat
Brand new audio commentary with comic book expert and podcast host Dave Baxter
The Queen of the Night, a newly filmed interview with actor Musetta Vander
Techno, Taiko, Orcho, a newly filmed interview with composer George S. Clinton
The Man of a Thousand Deaths, a newly filmed interview with stunt performer J.J. Perry, who played Cyrax, Scorpion and Noob Saibot
On-set interview bites with the cast and director and B-roll footage
Theatrical trailer
Image gallery
“Nirvanna the Band the Show the Movie“
One of the funniest movies of the first half of 2026, this indie gem comes courtesy of our friends in the North, more specifically the twisted genius of Matt Johnson and his BFF Jay McCarrol. In the late ’00s, Johnson and McCarrol made a web series called “Nirvanna the Band,” loosely about their own quest for artistic success. That footage has allowed them to make a riff on “Back to the Future” that includes younger versions of themselves as the 2020s Matt and Jay end up going back to 2008, shaking reality with their efforts to play the Rivoli. Funny and sweet, this has been a sturdy hit for Neon, who have given the film a loaded Blu-ray that comes with two commentaries a deleted scene and much more. We’ll forgive that awful cover art.
Special Features
Audio commentary with Matt Johnson and Jay McCarrol
Audio commentary with Matt Johnson and the Production Team
Alternate Opening
Animatics
Back to 2008, Running Cable
Deleted Scene
Home Movies
Figured it Out Featurette
Nirvana the band, the Show – Episode 101
The Banner
Post Credit Scene
“The Super Mario Galaxy Movie“
The first “Super Mario” movie was a loose assembly of references to the video games that spawned it, but at least it had a few characters and set pieces that sparked (MVP Donkey Kong). You can’t really say that about this cat toy of a movie, a bunch of bright colors and lights meant to distract you from the fact that it’s about as hollow as blockbuster filmmaking gets. Loyal readers may be wondering why it’s included in a monthly column that generally features only highlights, but this movie is too big to ignore, and the truth is that the Blu-ray is stacked with special features for the fans of this nostalgic light show and we try to highlight whenever a company treats buyers right. The filmmakers here are another story.
Special Features
NEXT LEVEL: MAKING THE SUPER MARIO GALAXY MOVIE – Go behind the scenes of this epic journey across the cosmos as the visionary creators at Nintendo, the acclaimed filmmakers and artists of Illumination, and the extraordinary cast who redefined these iconic characters reveal the artistry behind every meticulously crafted moment.
CAST OF CHARACTERS – Explore how this impeccable cast masterfully embodied the iconic MARIO BROS. characters, honoring their legacy while captivating audiences across generations worldwide.
Mario & Luigi
Peach & Rosalina
Bowser & Bowser Jr.
Toad & Yoshi
EXPLORING THE GALAXY – Guided by the filmmakers and cast, audiences embark on a journey through the film’s most iconic settings, revealing the thoughtful layers of nostalgia embedded in each one.
GALACTIC THEMATICS – The emotional core of any SUPER MARIO BROS. film lies in its relationships. This piece delves into the bonds between characters, examining the alliances that are tested, the connections that are broken, and those that endure and evolve forever.
COSMIC TUNES – Some sounds are unmistakably SUPER MARIO BROS. Composer Brian Tyler invites audiences inside his creative process, reimagining the franchise’s iconic game music as a powerful cinematic score that drives the action and elevates this epic adventure.
POWER-UPS – There is no greater tool in the galaxy than a perfectly timed power-up. Take a closer look at the many power-ups featured in the film, explore how the filmmakers selected which to include, and hear from the cast as they share their personal favorites.
SECRETS OF THE GALAXY – Brimming with cleverly hidden Easter eggs, the film invites fans to return again and again to catch them all. In this feature, the filmmakers and cast offer insider guidance on where to look, what to watch for, and the surprises waiting to be discovered.
“Wake in Fright” (Arrow)
I was lucky enough to see this 4K restoration at Fantastic Fest in 2024, and it was one of the most memorable film experiences of that year. You can almost feel the heat coming off the celluloid in this vision of a schoolteacher who essentially goes mad in the middle of nowhere. The restoration is finally available on physical media thanks to the great folk at Arrow, who have loaded the movie with tons of archival materials, including interviews, two commentaries, and much more. One of the most controversial films of its era, “Wake in Fright” is an unforgettable experience, a case study in madness and moral degradation that’s increasingly been rightfully recognized as one of the essential films of its era.
Special Features
4K RESTORATION OF THE FILM
DOLBY VISION/HDR PRESENTATION OF THE FILM
Original lossless mono audio
Optional English subtitles for the deaf and hard of hearing
Audio commentary by director Ted Kotcheff and editor Anthony Buckley
Audio commentary by Peter Galvin, author of The Making of Wake in Fright
Return to the ‘Yabba, a featurette tracking down the film’s Broken Hill locations
Take in Fright, an interview with director of photography Brian West
Sounds of the Outback, a previously unreleased interview with sound editors Keith Palmer and Eddy Joseph
The Cinema’s Great Squeaky Bald Git, an appreciation of actor Donald Pleasence by film historian Kim Newman
The Filmmaker and the Film Buff, a discussion between Philippe Mora and Paul Harris
Yer Mad, Ya Bastard!, an archive interview with director Ted Kotcheff
Not Quite Hollywood, an archive interview with actor Jack Thompson
Q&A with Ted Kotcheff from the 2009 Toronto International Film Festival
Audio interview with Ted Kotcheff, conducted by Paul Harris
Audio interview with composer John Scott, conducted by music historian Daniel Schweiger
Alternate scenes from Outback
2009 TV report on the rediscovery and restoration of Wake in Fright
Who Needs Art?, a 1971 TV segment with behind-the-scenes footage
Chips Rafferty obituary by Ken G. Hall
US theatrical trailer and TV spot
Foreign Visions of Local Stories, a trailer reel of Australian films helmed by overseas filmmakers
Image gallery
Collectors’ booklet featuring new writing on the film by Jay Slater, Paul Lê and David Michael Brown plus archive materials
Reversible sleeve featuring original and newly commissioned artwork by Jeff Marshall
